Recipe Collections · The Vintage Kitchen

A Christmas Dinner from 1924

Large metal bowl filled with unshelled and half-shelled walnuts. A metal nutcracker sticks out of the nuts at an angle. In the background we see part of a large Victorian style window and a small portion of a huge blazing fireplace.

Traditional meals look really big to us today. For those raised on hamburgers and french fries, or pizza and a soda, the multi-course meal seems huge. To give you an idea, here’s a Christmas dinner from 1924 along with a few recipes. Here you’ll find recipes to make Oyster Cocktail, Chestnut Stuffing, and Frozen Maraschino Pudding.

Why were these meals so lavish? Why did they contain so many courses? Well, for one thing, these big meals hearken from a time when they were cooked by servants and served by servants. Therefore, the person in charge of the meal only cooked. He or she wasn’t engaged in working full time outside the home. Actually, the cook also needed to complete no other housework or errands. The food could be delivered to the house. As a result, the cook could focus completely on turning out dinners like this one, night after night.

Given all that, why do we put forth all this effort? If you want to emulate the habits of the wealthy of old, what better time to go all out than the holidays? Plus, feeding a houseful of people really does take more food. One way to stretch the turkey, or whatever you plan to serve, is to include extra sides and an extra dessert. Even though this creates more work, in the long run it’s easier than making a second turkey or a second main dish.

This Christmas dinner from 1924 was designed to be carried out by one young cook in her early twenties. The magazine touted it as the “new bride’s Christmas dinner.” Can you imagine? This would take a lot of advance planning to pull off well as a solo cook.

Christmas dinner men

Oyster Cocktail
Tomato Bouillon, Whipped Cream
Toasted Saltines
Roast Turkey, Chestnut Stuffing
Giblet Gravy
Mashed Potatoes
Baked Onions Squash Soufflé
Jellied Cranberries
Endive French Dressing
Cheese Sticks
Frozen Maraschino Pudding
Sponge Cake
Coffee
Nuts Bonbons

The courses

This dinner would be served in five or six different courses, one after another. No normal Twenties dining table contained the space for such a repast if served all at once. So, to give you an idea what this looks like, here’s a possible breakdown of the meal:

Course 1: Oyster Cocktail. This is the appetizer.

Course 2: Tomato Bouillon with Whipped Cream. This is the soup course. The whipped cream is unsweetened. It’s just cream, whipped. The saltines accompany the soup.

Course 3: Roast Turkey, Chestnut Stuffing, Giblet Gravy. Accompanied by the vegetables, which are Mashed Potatoes, Baked Onions, Squash Soufflé, and Jellied Cranberries. This is the main course.

Course 4: Endive with French Dressing. This is the salad course, and it appears at the end of the meal. The Cheese Sticks listed under it accompany the salad.

Course 5: Frozen Maraschino Pudding, Sponge Cake, and Coffee. This is the dessert course.

After dinner: Not really considered a course, nuts and candy or mints sit in bowls on the table for nibbling after the completion of dinner. Perhaps guests enjoy them with a second cup of coffee.

If you want to undertake this or a meal like it, most of the items above are easy enough to replicate. Perhaps you already have recipes in your file. Maybe some of them you’ve committed to memory, like Mashed Potatoes. Really, you only need to roast a turkey once to know how it’s done. The next time, and after that, you only need to check to make sure the oven is set, look on the wrapper for hours to cook, and you’ve got it.

If you’d like it vegetarian

Or maybe you’d prefer to replace the turkey with a great nut roast, and make the meal vegetarian. If so, the best nut roast recipe I’ve ever made is the Cheese and Nut Loaf from the Greens cookbook. While this recipe isn’t vintage, it is really good! To help you find your own copy, I’ve linked to a slightly modified recipe from Epicurious in case you don’t have the cookbook on your shelf.

Oyster Cocktail

Ingredients:

  • 3/4 cup tomato catsup
  • 2 tablespoons lemon juice
  • 1 1/2 teaspoons Worcestershire sauce
  • 1/2 teaspoon celery salt
  • few drops Tabasco sauce, optional
  • 3 dozen oysters
  • 1 stalk celery, for garnish
  • 1/2 green pepper, for garnish

To the catsup add the lemon juice, Worcestershire sauce, and celery salt. If you want to add a few drops of Tabasco sauce, do it now.

Add the oysters to the mixture and chill. Serve in cocktail glasses, garnished with finely chopped celery and strips of green pepper.

If you like, you can replace the oysters with clams, lobster, crabmeat, or shrimp.

Recipe makes six servings.

Chestnut Stuffing

Ingredients:

  • 3 cups chestnut puree
  • 1 cup soft bread crumbs
  • 1/2 cup melted butter
  • 1 tablespoon chopped parsley
  • 1 tablespoon grated onion
  • 1/2 teaspoon salt
  • 1/8 teaspoon pepper
  • 1/2 cup cream

To prepare the chestnut purée, boil a quart of large French chestnuts until tender. Let cool until you can touch them safely. Remove the shells and skins and rub through a sieve. (A food processor would probably also work.)

To the puree add the bread crumbs, butter, and seasonings. Moisten with the cream and mix lightly.

Use this to stuff the turkey, or bake in a casserole dish. To bake in the oven separately, turn the mixture into a buttered or oiled baking dish. Cover the dish with foil. Bake the dressing at 400ºF for 30 minutes. Then, if you want a crispy topping, remove the foil and continue baking for 15 minutes or so until the top is golden brown.

Frozen Maraschino Pudding

Ingredients:

  • 1/2 cup candied pineapple
  • 1/2 cup maraschino cherries
  • 1/4 cup juice from cherries
  • 1/2 cup sugar
  • 1/3 cup water
  • 2 egg whites
  • pinch salt
  • 1 cup cream, whipped
  • 1 teaspoon vanilla
  • 1 tablespoon lemon juice

Cut the pineapple into small pieces and halve the cherries. Add the cherry juice and let stand several hours.

Beat the egg whites until they are stiff.

Boil the sugar and water together until the syrup spins a thread (238ºF). Pour the hot sugar slowly onto the stiff egg whites. Add salt and beat until cool. (This will cook the egg whites. If you are concerned, you can use pasteurized egg whites in this dish.)

Fold in the cream, which has been whipped until stiff. Add the vanilla, lemon juice, and fruit mixture.

Freeze for three hours before serving.

Recipe makes six servings.

An alternate fluffy dessert

If you like the idea of the whipped cream and fruit dessert but the egg whites give you pause, here’s an alternative. This recipe for Fruited Cream Dessert contains many of the same ingredients, minus the egg. You can substitute candied pineapple and cherries for the fruit in this recipe, if you like. Be sure to soak the pineapple in the cherry juice before using. The soaking softens the pineapple.

Recipe Collections · The Vintage Kitchen

Sunday Sandwiches

Twenties recipes are known for their common, everyday ingredients. Most cooks created meals by the season. Unless it was canned from the home garden or available on a grocer’s shelf, all foods appeared within their season of freshness. You would not see asparagus, for instance, outside of spring meals. Even given all that, these Sunday sandwiches appeared a bit odd.

I found them within the pages of The American Needlewoman, an inexpensive magazine (some reports say subscriptions were 25¢ per year). These sandwiches are touted for Sunday evenings, after-theatre snacks, and hurried lunches. I’ll leave you to decide.

These recipes aren’t long enough to warrant their own recipe cards. They are ingredients assembled from the refrigerator and leftovers, placed on bread to form sandwiches.

An odd note

One strange thing about these sandwiches is that they seemed to be topped with a layer of mayonnaise or a slice of cheese. Normally we would put those things inside the sandwich itself. No notes describe whether these were supposed to be eaten by hand, or with utensils.

Creamed Egg Sandwich

You will need:

  • large baking powder biscuits, one per serving
  • butter
  • hard boiled eggs, one per serving, made earlier and chilled
  • white sauce (2 Tb butter, 2 Tb flour combined with 1 cup milk and 1/4 tsp salt to make a sauce)
  • bacon, cooked, probably in 1/2 or 1/3 slices

Split large baking powder biscuits. Brown the cut sides in butter. Spread one side with fresh butter.

Make your white sauce, “well seasoned.” In addition to the 1/4 tsp salt you might add the same amount of pepper. Slice the hard boiled eggs into the white sauce and warm them in the sauce. (If they are cold they will retain their shape better than if freshly boiled.)

Cover the bottom biscuit half with the warm creamed eggs. Set the top on, and cover generously with more of the sauce. Place two thin slices of bacon on top for added flavor.

Rye Sandwich

You will need:

  • rye bread, sliced thin
  • butter
  • cooked ham
  • onion slices
  • cooked bacon slices, 2-3 per sandwich
  • firm ripe tomato
  • mayonnaise
  • whole small dill pickle

Each sandwich requires 3 slices of thin rye. Spread all three sliced with butter.

Mince the ham and onion together. Spread that on the first slice.

Place enough slices of cooked bacon to cover the bread on the second slice. Two to three half slices should do it. Top the bacon with two slices of tomato, and spread mayonnaise over the tomato.

Top with the third slice of bread, butter side down. Slice almost all the way through the small dill, and lay it on top the sandwich as garnish, with the slices fanning out across the top of the bread.

Club Extraordinary

You will need:

  • three slices of toast per sandwich
  • sliced chicken
  • cooked bacon slices
  • sliced tomato
  • melted cheese, cheddar, American, or colby
  • canned lobster, 1 small can
  • mayonnaise

Spread a slice of toast with melted cheese.

Lay one slice of chicken, 2 slices bacon, and a tomato slice or two on the first slice. Cover with mayonnaise and another piece of toast.

On this second toast, spread with melted cheese again, and top with chopped canned lobster. Spread with a layer of mayonnaise, and top with the remaining slice of toast.

Combination Sandwich

You will need:

  • rye, wheat, and white bread slices, one of each per sandwich
  • chopped pickle, dill
  • cold sliced pork
  • minced ham
  • cheese slices, either cheddar, colby or American
  • butter

Take one slice of each kind of bread. Butter one side of all.

Spread one slice with chopped pickle, one with sliced pork, and one with minced ham. Put them together (presumably with the pickle and one of the meats facing. Or not.)

Top the sandwich with a slice of cheese.

Olive Sandwich

You will need:

  • two slices bread per sandwich
  • cold lamb
  • cold pork
  • olives
  • mayonnaise
  • butter

Make a filling by chopping together the lamb, pork, and olives. You might use 1 cup lamb, 1 cup pork, 1/2 cup olives, or a similar combination. Blend the chopped ingredients with mayonnaise until it holds together.

Spread the white bread with butter on one side. Top the bottom piece generally with the mixture.

Set the top slice on the sandwich, butter side down. Spread a layer of mayonnaise on top of the bread.

Final notes

See? These Sunday sandwiches are… unusual. They would be great for an off-beat picnic luncheon, with sandwiches safely packed in a cooler. These contain a lot of eggs and mayo. If you have the ingredients on hand, or can easily get ahold of them, they also might make an interesting after-holiday supper. After the turkey or ham is devoured and we’re all a wee bit hungry, bring out these sandwiches for a complete change of pace. Who knows? One of them might become a family favorite.

If you’re looking for something a bit more standard, but still unusual, this Tea Sandwiches article might be the thing.

Recipe Collections · The Vintage Kitchen

Homemade Christmas Candies

1920s illustration. Blue bowl sits on a table surrounded by red and green holly. The bowl is piled high with candy of all different shapes and colors. Pink, green, white, and brown squares and rounds fill the bowl.

The candy counter was a popular destination for shoppers. Chocolate Hershey bars, Teaberry gum, and a host of other sweets kept everyone’s sugar-loving tooth happy. For a nickel you could take home a small candy bar, if you made it that far without devouring it. Even so, one of the most popular Christmas gifts continued to be homemade Christmas candies.

Friends and far-flung family alike anticipated the arrival of the yearly candy box. Special homemade Christmas candies such as taffy, fudge, hard peppermints, and even gumdrops nestled happily against one another in the small tin. Some looked forward to the arrival of the tin all year. Homemade Christmas candies were a gift to treasure, and few turned up their noses at such an offering.

This worked to the candy maker’s advantage as well. For the price of a little sugar, chocolate or cocoa, and flavorings (some of which lasted for years on the pantry shelf) a home cook turned out enough candy for the family at home as well as friends and family local and far. A candy recipe makes a huge amount of sugar-laden food for one or two people. Fitting two or three of each kind of candy into a box made a beautiful presentation, and enough filled boxes left the candy maker with just enough of the sweets for home use.

Today I offer some of the old recipes so you can get a start on your home homemade Christmas candies box. Or platter. Or however you want to serve it, send it, or eat it. These recipes for Persian Sweets, Christmas Fudge, Boston Cream, and Frosted Gum Drops are only a few of the candy recipes available.

Note: If you are making candy, and boiling sugar of any kind, you will need a large, deep saucepan. A three to four-and-a-half quart pan should work well. Sugar will boil up and over the top of a pan, creating a burn hazard. The large pan helps to safeguard against this. Please be careful.

Persian Sweets

This recipe is uncooked and easy to throw together if you have the ingredients and a few holes in your candy box. Why this is called Persian Sweets, I have no idea. Other variations of this, with different fruits added, are known as Fruit Rolls. You will need:

  • One cup chopped raisins
  • 3/4 cup chopped dates
  • 3/4 cup chopped walnuts
  • 1-2 cups powdered sugar, or enough to cover the candy
  • waxed paper

Mix the raisins, dates, and nuts together. This will be sticky. Knead on a board that you’ve covered with powdered sugar. Knead it until the mass sticks together well.

Roll the candy with a rolling pin, also coated with powdered sugar so it doesn’t stick. Roll until the candy is 1/2-inch thick.

Cut into small squares, no more than 1-inch square. One-half inch squares would make nice cubes, somewhat like Kraft caramels.

Roll the cut squares in powdered sugar until well covered. Wrap each square in waxed paper.

This will keep quite a while if packed in a tin or airtight container. It would be a good candy to send long distances.

Christmas Fudge

This is a chocolate-flavored fudge with a little molasses. It also contains no cream. You will need:

  • 1 cup brown sugar
  • 1 cup granulated sugar
  • 1/2 cup water
  • 1/4 cup molasses
  • 2 rounded Tablespoons butter (each Tbsp would be about 1 1/3 Tbsp, so 2 2/3 Tbsp total)
  • 2 oz unsweetened chocolate, bar form, grated (Lindt and Ghiradelli both offer baking chocolate)
  • 1 teaspoon vanilla extract
  • Large, deep saucepan
  • pans for holding the fudge: 8 x 8 baking pan, loaf pans, etc.

Melt the butter in a saucepan, but do not let it brown.

Remove the pan from the heat. Mix in the sugars, molasses, and water.

Boil the mixture 2 minutes. Add grated chocolate and boil for 5 minutes. Always count the time from the point that bubbling begins.

Remove from the heat and add the vanilla. Cool. Then beat vigorously and spread into pans.

Mark into squares. When the mixture is cold, cut the pieces apart with a sharp knife.

Boston Cream

This is reminiscent of the Boston Cream Pie, without the cake.

You will need:

  • 3 cups granulated sugar
  • 1 cup white syrup (Karo or another brand corn syrup)
  • 1 cup sweet cream (whipping cream, whole cream)
  • 1 cup chopped pecans
  • 1 teaspoon vanilla or almond extract
  • 3 oz unsweetened chocolate (Lindt or Ghiradelli baking chocolate)
  • Large, deep saucepan
  • Buttered pans for cooling the candy. A loaf pan would work well, or even several miniature loaf pans.

Boil the sugar, syrup, and cream to a soft ball. In other words, you bring the mixture to a boil. Take a tiny bit on the tip of a spoon and drop it into a glass of ice cold water. The mixture should form a ball in the water but squish when you bring it out of the water. That is a soft ball. It is also 238ºF on a candy thermometer.

Once it reaches soft ball stage, remove the pan from the heat. Beat until the candy is white and smooth. This is going to take a while if you do it by hand.

Beat in the nuts and the flavoring. Turn into deep buttered pans to cool.

When cold, melt the chocolate and pour the chocolate over the top of the candy. Let it stand for several days to ripen.

Cut into slices to serve.

Frosted Gum Drops

These red and green jewels will brighten any candy plate.

You will need:

  • 4 level tablespoons gelatin
  • 1 1/2 cups boiling water
  • 1 cup cold water
  • 4 cups granulated sugar
  • red, yellow, and green food coloring
  • wintergreen or peppermint flavoring oil
  • clover flavoring oil
  • lemon flavoring oil
  • rose oil or flavoring extract
  • granulated sugar for rolling
  • Large deep saucepan for candy making

Soak the gelatin in the cold water for five minutes. Stir in the boiling water until completely dissolved.

Add the sugar and boil for 25 minutes from the time boiling begins, stirring constantly. If you don’t keep it moving it will stick and burn.

Pour the syrup into 4 heatproof containers. When it cools, flavor and color them. Use a drop or two of lemon oil for the first container. Do not color it. For container 2, use a drop or two of green and flavor with wintergreen. For container 3, use yellow coloring and rose flavor. If you use extract rather than oil, you will need a bit more than a drop. For container 4, use red and flavor with clove.

Pour each candy into a small pan that has been dipped into cold water. Loaf pans or other small pans would work.

Refrigerate overnight. Cut into cubes with a knife dipped in boiling water. Roll each piece in granulated sugar until well coated.

Set aside for two days to crystallize.

Note: These flavor and color suggestions are very vintage. If you’d rather use blue food coloring and blackberry flavoring, do so.

More options

Once you get started, candy making can become an obsession. It’s fun to do and generally popular. Taffy pulls bring people together. For that matter, so does a big plate of fudge surrounded by fresh cups of coffee!

Every candy box has a hole where you can tuck just one more thing. If you find yourself in that position, take a look at this no-cook recipe for Easy Fondant Cream Mints. They were a huge hit at my house.

The Creative Corner · Vintage Needlework

Lazy Daisy Stitch Projects

Today I have two small Lazy Daisy stitch projects for you. These are suitable for a small frame. Or they would look wonderful decorating one end of two scarves, at the top or pocket of an apron, or even embellishing the back of a jacket. Do you need a small decorated pillow? They would rock that as well. If you need a stitch review, you can find it in Part 1 and Part 2.

Flowers in flowerpot

You can see the first project above. This design measures about 5.5 inches square. You can print out the image above at about 90% of its full size. Or simply sketch it from the picture inside a 5.5 inch box. This design is 100 years old and somebody drew it freehand to begin with. Who’s going to know if your dimensions are a tiny bit off?

Once you get the design transferred to your fabric, you will need to grab your colors. The original was embroidered in fine embroidery yarns like 1 or two strands of tapestry yarn. (It comes with four strands together.) You could use one strand of pearl cotton or four strands of embroidery floss instead.

Colors you will need

You will need:

  • pale jade green for leaves
  • orchid
  • old rose
  • heliotrope
  • yellow
  • delft blue

How to embroider the flowers and flowerpot

  • Begin with the leaves in tree stitch. Start at the tip. Use the green.
  • Use chain stitch for the stems. Also in green.
  • The tendrils use the green in back stitch. (This is the curly line coming off the stem.)

The large flower is worked in chain stitch from the outside in. Starting with the outer row:

  • The outer row is lazy daisy stitch in orchid.
  • Work the row inside that with lazy daisy stitches in old rose.
  • Complete a row of chain stitch in the rose.
  • Inside the chain stitch, a row of lazy daisy stitches in heliotrope. The tips of the daisies will go into the chain of the previous row.
  • Make the center in a yellow tree stitch. Start at one end and work to the other.

The circular flowers

Circular flower 1

Complete the two circular flowers by making eight long lazy daisy stitches. For the lower flower, make the daisy stitches in orchid. Then with rose, weave over and under the stitch arms like you see in the illustration above. Complete the flower with a yellow center of tiny lazy daisy stitches or French knots.

Circular flower 2A

For the upper flower, make the spokes in heliotrope and complete the flower in the same color. Instead of weaving over and under, this time you will loop around and around the two threads that make each lazy daisy stitch as you see above.

Circular flower 2B

After the first row or two you will loop around each individual thread of the daisy stitch, as above. This makes a nice, tightly woven flower. Make the weaving as large or as small as you like. Again, make a yellow center.

The bowl

The upper edge of the bowl is in separated lazy daisy stitches. They march in a line across the rim. Keep the loops a bit loose so that the line of stitches and their spaces appear even. This row is in delft blue. Then:

  • Hanging from the top border of the bowl, seven woven drops dangle.
  • Work a row of back stitch in rose just above the blue chain stitch.
  • Also use back stitch for the two lines coming down from the sides of the bowl, but work these in blue.
  • Use jade in regular chain stitch for the sides of the bowl.
  • Also use jade for the bottom of bowl, but work closely-spaced separated chain stitches.
  • Above this line, work four points in tree stitch, as you see in the illustration below.
Use four different colors for this tree stitch.

Use four different shades of thread or yarn for these stitches. The first, or inner, stitch is yellow. Follow that with heliotrope, then orchid, and finally rose for the largest outside stitch.

Circular Medallion

Circular medallion, six inches in diameter

I liked this design a lot. For some reason this one really appealed to me, and I’ll try to find something to embroider it onto.

This would be a great decoration for a vintage style handbag or small pillow. It measures six inches in diameter.

The colors

To work the second of the lazy daisy stitch projects you will need one or two strands of tapestry yarn, pearl cotton, or four strands of embroidery floss. The original instructions even suggested four-fold Germantown, which was worsted knitting wool. The worker would then separate the four strands and use one at a time. The color list:

  • medium dull blue, like DMC 793
  • dark dull blue, like DMC 792524
  • light/medium blue green, like DMC 518
  • dark blue green, like DMC 3760
  • gray-green, like DMC 524
  • heliotrope, like DMC 33
  • flame, like DMC 347 or any red/red-orange that you like

Usually I don’t match DMC colors to vintage patterns, but the suggestions for this particular design were very vague. It suggested two shades of dull blue. What in the world is that? I had to consult a DMC color chart so I could figure it out for myself. While I was there, I decided to jot down the numbers that I found. If you have a selection of threads in this color range that you think works better, by all means use them.

The flower

Detail of flower center

This illustration shows how the flower center is worked.

  • The very center horizontal satin stitches are in flame/red/red-orange.
  • To the right and left of the flame stitch, work tree stitch. Begin at the center and work out to the edges. Use the lighter blue-green thread.
  • Surround the oval with back stitch in heliotrope.
  • The first lazy daisy row, closest to the flower center, is in dark blue.
  • Use gray to complete a second row of daisy stitches, about half the size, at the ends of the first daisy row.
  • Extending from the flower center, work the large petals in light blue tree stitch.
  • Connect the petals close to their tips with buttonhole stitch done in heliotrope.

The rest of the embroidery

Here’s how to complete the embroidery.

  • Work the central flower stem in dark blue-green tree stitch.
  • The two leaves closest to the flower are the lighter blue-green. Use tree stitch for this as well.
  • Work the small tendrils (curly lines) coming from the top two leaves in lighter blue-green, using back stitch.
  • The large dark tendrils coming from the base of the flower stem are back stitched in dark blue-green.
  • All other leaves and tendrils are in gray-green.

Next Lesson

And this concludes Lazy Daisy Stitch Projects. The next embroidery lesson series focuses on appliqué. If you enjoy the look of Twenties and Thirties appliqué quilts and needlework, you won’t want to miss it.

Poems from the Pages · The Magazine Rack

Poem: By Loving and Giving We Live

This is not your everyday Christmas poem for December. We read lots of poems about Santas and sleighs, about snowfalls and heavily-laden tables. This month’s poem, By Loving and Giving We Live, presents another perspective to the Christmas getting and giving.

This poem’s author is Clara Haven King. I can find no references to her or to her poetry. A periodical search, newspaper search, and book search turn up nothing. Of course, the possibility exists that the magazine got her name wrong. It wouldn’t be the first time I saw that.

This Christmas poem appeared in the December edition of Needlecraft Magazine in 1922. In the interest of keeping Clara Haven King’s poetry alive, I bring you By Loving and Giving We Live.

By Loving and Giving We Live

by Clara Haven King

“Oh, Christmas is coming again!” you say,
And you long for the time he is bringing;
But the costliest gifts may not gladden the day,
Nor help on the merry bells’ ringing.
Some getting is losing, you understand,
Some hoarding is far from saving;
What you hold in your hand may slip from the band,
There is something better than having.
We are richer for what we give,
And only by giving we live.

Your last year’s presents are scattered and gone;
You have almost forgotten who gave them;
But the loving thoughts you bestow live on
As long as you choose to have them.
Love, love is your riches, though ever so poor;
No money can buy that treasure;
Yours always, from robber and rust secure,
Your own without stint or measure.
It is only love that can give;
It is only by loving we live.

Do you know this poet?

If you have heard of Clara Haven King, or know of a place where her poetry was published, please drop a note in the comments and let me know. I’d like to read more of her work.

If you’d rather read about autumn than Christmas, Belle Bush’s October offers another look at life and humanity.

The Creative Corner · Vintage Needlework

Lazy Daisy Stitches Part 2

Illustration of two needles making a flower with lazy daisy stitch variations. The top section looks like a flying saucer and the bottom section, the petals, look like raindrops falling from the flat saucer portion.
Variations of lazy daisy stitch creates a vintage project

In this second installment of Lazy Daisy Stitches, I give you several more variations of the stitch. If you missed the first part, you can find it here. It includes the original stitch, and the introduction to Lessons in Embroidery for Beginners: Lesson Five. You’ll also find several variations that you will need for the upcoming projects.

The original article discussing lazy daisy stitches covered a page and a half of very small type on a large-format magazine page. With eleven examples and much discussion to go with them, it posed much too long for any modern web page. However, taken at one time, it did provide a nice month’s amusement for the needleworker who wanted to master and expand the lazy daisy stitches and variations.

The first time we discussed the actual lazy daisy stitch, leaf sprays, a dedicated leaf stitch, and single spaced daisy stitches. This time you will learn four more variations. However, I don’t know that one of them really counts as a lazy daisy stitch. The original author Ethelyn Guppy thought so, though. We rely on her expertise in 1928.

Covered Open Daisy Stitch

A needle and thread embroiders a zigzag pattern by forming buttonhole stitches over a stationary thread tacked down in a V shape.
Open lazy daisy stitches, or fly stitches, make a zig zag.

I’m not sure what else you would call this. No description appears in the text.

To make this stitch you first complete a row of open lazy-daisy stitches, often called the fly stitch. They are made like the second and successive rows of the leaf stitch. You come out at the left top edge of the stitch and take the needle back into the fabric at the right top edge. The needle goes underneath and catches the loop at the bottom of the stitch, in the middle.

Once your first row is complete, go back over the arms of the stitch with a buttonhole stitch. This can be the same color as the foundation, or a different color. Your call.

Hebedo Stitch

Buttonhole stitches made in groups of two.
Not a lazy daisy stitch.

This is actually a form of a buttonhole stitch. It is not in any way a lazy daisy stitch. However, one of the projects originally featured in this lesson was a hand towel. The article suggested this stitch as a decorative hem. So how do you make it?

If you know how to make a buttonhole stitch from Lesson Four, you can make this easily. Normally you would come up from the bottom of the fabric and lift the top thread as you go back down. The needle passes under the thread top to bottom. Right?

This time, you come out of the fabric from the bottom. You reach behind the top thread and send the needle underneath, back to front. This creates a little twist or loop at the top of the fold. Then you bring the needle from the front and take it back down behind.

In the example above, the stitches are completed in groups of two. This adds strength the the edge as well as a decorative element. Two threads, in this case, are better than one.

Points in Tree Stitch

Three sets of embroidered Tree Stitch, a variation of the lazy daisy stitch.

This is made just like the leaf or tree stitch described in Part 1 of the Lazy Daisy series. Instead of beginning with closed lazy daisy stitches, however, you start with open ones.

Woven Drops

Illustration of woven drop stitch: long narrow lazy daisy stitches that the thread is woven back and forth through the bars. They look somewhat like long pine cones. A set of three: a loop in process, a long finished drop, and a shorter finished drop.

First make a long, narrow lazy daisy stitch. Then bring the thread back up just under the tip and weave back and forth back towards the starting point. These make nice accent pieces.

Next time

The next embroidery installment will be Part 3, two small projects for the lazy daisy stitch. Stay tuned!

The Creative Corner · Vintage Needlework

Embroidering Lazy Daisy Stitches

Stylized Twenties flower in embroidery. A dark stem and eight mirror-image leaves lead to an open flower head. Curlicues in running stitch form a background for the flower.
Make this with variations of the lazy daisy stitch and some running stitches.

Welcome to Lesson Five of Embroidery for Beginners. This installment of the vintage embroidery series focuses on embroidering lazy daisy stitches. Although we may know how to make the stitch, it has lots of variations that you might enjoy using. In fact, this one lesson offers eleven different stitches, plus several project options. Because of this, Lesson Five appears in three articles rather than the usual two. We have a lot of material to cover.

First, if you haven’t done the lazy daisy stitch, you’ve surely seen it in embroidery. It’s that loopy stitch used to make flowers. Sometimes it appears as open leaves below a flower.

The stitch actually had several names. Early on it was called the bird’s eye stitch because workers thought it resembled the eye of a bird. Perhaps they found the stitch useful for making simple eyes for the birds that appeared on so many embroideries at the turn of the century, 1890-1910. It got its common name, lazy daisy stitch, from the way it resembled the daisy petal and its perfect use in representing the flower on fabric. In the Twenties it became known as the loop stitch although you can see that didn’t stick, although it was accurate.

Actually, the lazy daisy stitch is a single chain stitch. We covered the chain stitch in Lesson Two. Even in the Twenties the lazy daisy stitch was maligned. Many designers considered it “too easy” and thus omitted it from pieces. This is unfortunate, because the lazy daisy stitch adds so much to the mountainside and cottage flower gardens which were so popular at the time.

The point of this lesson was to show that yes, the lazy daisy stitch provides the easiest way to make a daisy. However, its use extends far beyond the simple daisy into some intricate-looking needlework.

The daisy stitch

Illustration showing how to make a lazy daisy stitch in embroidery.
Making the lazy daisy stitch

Here you see the needle making a daisy-style flower. Begin without placing a knot at the end of the thread, as usual. Make two or three tiny running stitches along a line that will be covered by the thread to hold the strands in place.

Bring the needle, with all the working thread, up from below at the base of the petal. Put it down again in nearly the same place, perhaps a couple threads to the right or left. At the same time, hold the thread on the surface under your left thumb as though you were making a buttonhole stitch. Bring the needle out at the tip of the petal, over the thread strand or strands. Draw up the thread gently and evenly to form the petal, and then put the needle through the fabric just outside the loop. This forms a tiny stitch to hold the loop in place.

Bring the needle up at the base of the next petal and repeat.

For large petals, use a rather heavy thread. If you use stranded embroidery floss, use enough strands in the needle to give each petal a full look.

Leaf spray in lazy daisy stitch

Embroidered leaf spray. A line of straight stitches that forms a gentle arc. This is the stem. Four loops on each side of the stem made in lazy daisy stitch, with one loop at the end of the stem. Text: Lazy daisy stitches used as leaves.

Here is a leaf spray made in the same stitch, with a stem made in back stitch. First create the back stitch stem, and then place the leaves onto it. Work the lazy daisy stitches as you come to them, back and forth under the stem, finishing with the loop at the end.

Tree or Leaf Stitch

This variation of the lazy daisy stitch makes beautiful leaves. You begin at the top point of the leaf.

Make a lazy daisy stitch to start, bringing the needle out at the top left of the first stitch and back down at the top right. Then to secure the loop, bring the needle out just a bit to the left of the first stitches, and put it in a bit to the right. As you see, this will make the center holding stitches slant just a little.

For your second stitch bring it out a bit below and to the left of the fist stitch, and back in a little to the right and below the first daisy. Your holding stitch should appear under the first one, also slightly slanted. Continue in this way until the leaf is completed.

Separated lazy daisy stitches

Single line of lazy daisy stitches. The needle has made one, is finishing the second, and has dipped under the fabric and back up again to begin the third. Illustration from 1928.
A line of daisy stitches, all in a row

Sometimes when you are embroidering lazy daisy stitches, you want a different effect. Here the stitches march in a line, creating a loose border. The stitches are made exactly the same as a regular daisy stitch. But instead of returning to the center for the next loop, the needle continues in a straight line.

Next time

Next time I’ll introduce three more variations. In Part 3 we’ll put it all together with a six-inch round medallion and a five and a half inch flowerpot that would make a beautiful scarf decoration. Both are made almost entirely with lazy daisy stitches and variations.

The Creative Corner · Vintage Needlework

A Gift of Handkerchiefs

When you think of gifts for friends, you probably don’t think Gee, I could give them a handkerchief! Or maybe you do. I know that every morning I tuck a clean hankie into my pocket before I start my day. They are so handy for a variety of things: wiping a smudge off your computer monitor or cell phone shield; cleaning fingertips after a salty snack; protecting a cracker or two in your pocket as you head toward the sofa with a hot cuppa. And yes, during allergy season they come in handy for their intended use. But a gift of handkerchiefs?

Nothing can be a more pleasing gift at Christmas or at any other “remembering time” than a pretty handkerchief – or more than one.

Needlecraft Magazine, October 1921

Actually, special hankies appeared as part of the annual gift selections throughout the Twenties and Thirties. They were used through the 1960s and beyond by many. If you find yourself in an antique mall, at least one vendor sells vintage handkerchiefs. They appear with hand embroidery, with lace edgings, or both. And many of them were hand made.

What you need to make handkerchiefs

You don’t need much to make a handkerchief for a friend. A square of soft 100% cotton like batiste will do. Or you can use Irish linen or cotton lawn if you want to get fancy. You can crochet, knit, or tat a lace edging for it, or not. Some of the nicest ones I see in the periodicals have beautiful embroidery but no real edging to speak of. Others, in the edging instruction manuals, offer gorgeous edgings but no embroidery.

Cut your fabric into a square. Anything from 10 x 10 inches to 12 x 12 inches will do. One yard of 36 – 42-inch wide fabric will give you 9 handkerchiefs. A quarter of an inch both ways will be used by hems, 1/8 inch per edge in a rolled hem.

If you like you can hem the square by hand, using a rolled hem. This is, frankly, the nicest way to do it, but it takes the most time. Here’s a YouTube video on how to sew a rolled hem by hand. Once you get the hang of it, it can be a relaxing time.

If the square design has one or more colored stripes or geometric figures in the fabric in addition to embroidery, you will want to add the stripes of color before finishing the rolled hem.

Embroidery Designs 1 and 2

The wreath

The first two designs appear together. The top handkerchief is made of white lawn, a light, sheer cotton. The wreath that appears in the corner is about an inch in diameter. Place the largest rose facing the corner, with three roses going up each side from there. The buds at the top of the wreath are French knots. Use green embroidery thread for the leaves. Roses can be satin stitched in a shade of pink, including dark rose, with a darker color center.

The lines on the first handkerchief are made by pulling two threads from the fabric and replacing them with a thread of dark rose embroidery floss. Thread one strand of embroidery floss on a fine needle and weave in and out over the threads from one side of the fabric to the other. Follow the thin line made from the pulled threads. The original cloth had three lines on each side, dividing the handkerchief into sixteen equal squares. Do this before hamming the fabric. You can use one line on each side of the embroidered corner and it will look splendid.

If your fabric looks like the threads are too close together to pull well, simply take a strand of embroidery floss and create a running stitch from one side of the fabric to the other.

When you finish your embroidery and the rolled hem, work a cross stitch border around the square, over the hem. Use the dark rose floss, two strands.

The garland

The bottom handkerchief uses the top embroidery pattern below. Embroider the three roses in shades of pink. The medium circles in the middle are blue forget-me-nots. At each end you can use pink to create rosebuds with French knots. Use green for the leaves and stems.

Now, about the squares. The handkerchief will look good without them, but if you want to include them, this is how to do it. Inside the 1/8-inch border set aside for your rolled hem, draw two 1-inch lines that sit 1 inch from the corner. You’ll have a one inch square that sits inside the hem allowance.

Now measure down from the point you just drew, on the left arm of the square, 3/8 inch. Draw a line 3/8 inch into the square, and then 2 1/4 inches to the left. That gives you the long line.

Starting at the end of the line you just made, go up 3/4 inch. Turn, and go 3/8 inch back toward the corner, and then turn again. Go down towards the hem 1 3/8 inch.

You’re almost finished. Now return to the long line you made, and measure 3/8 inch towards the corner. Go up 3/8 inch and then over 3/4 inch. You have just completed one half the corner with three stacked blocks. Repeat for the other side. All the squares are 3/8 inch.

Once you have all this drawn in you can embroider it with running stitch, back stitch, or you can attempt to withdraw threads and replace them with the blue you use for the forget-me-nots.

Finish the rolled hem, and using 1 strand of blue, cross stitch through the rolled hem.

Here are the embroidery patterns for Handkerchiefs 1 and 2:

Embroidery design 3

These two designs are perfect for your Twenties costume party. The top corner that appears in the illustration is nothing more than the wreath above, with a small circle of black fabric appliquéd to the handkerchief and then the wreath is embroidered over the join. Embroider the roses in pinks, blues, or whatever shade harmonizes well with your background fabric (in the photo the fabric was terra cotta colored) and the black circle.

The second example here is Very Twenties. One might even say Perfectly Twenties. The fabric is white.

Two and a quarter inches from the corner, draw a stem line 1 1/4 inches long. Leave 1/2 inch space, and draw the second stem line 1 5/8 inches. Leave another 1/2 inch space, and draw the third line 1 1/4 inches long again.

You can pull threads from the fabric for the stem and weave in embroidery floss, or you can use an embroidery stitch like backstitch, running stitch, etc. to create the stem.

The stems are dark blue. The centers of the flowers are brown. Make the centers with French knots or short, straight stitches going in a variety of directions (sometimes called seed stitch). The outside of the flowers are made with bullion stitch. The first and third flowers use orange bullion stitch, and the middle flower’s bullion stitches are in yellow.

Use the same blue as the stems for the sepals, those little petals at the base of the flower heads. The rolled hem is covered in dark blue cross stitch.

Refresh yourself

If you need an embroidery refresher, my series of vintage embroidery lessons start here.

History · The Creative Corner · Vintage Needlework

Vintage Embroidery Threads: A Thread for Every Use

Various embroidery threads arranged on a table. Colors include red, pink green, and several shades of blue.
Left to right: DMC six strand embroidery floss; Anchor six strand embroidery floss; DMC coton a broder; YLI pure silk embroidery floss on top, DMC pearl cotton size 8 on bottom; vintage Wonder Art Perlene pearl cotton.

When I opened my grandmother-in-law’s stash of threads, I was amazed. Colors and types of vintage embroidery threads spilled out of the bags and boxes, left over from seventy years of embroidery. The vintage workbasket held more possibilities than you find in today’s 400 skeins of DMC floss, and Grandmother’s was no exception. In the early to mid twentieth century, needleworker had several companies from which to choose. Need six-strand embroidery floss? You could use DMC, or Bucilla, or Royal Society. What if you didn’t want to use six strand cotton embroidery floss? What then?

Half a black and white catalog page from the 1930s. Various types of embroidery and crochet threads are described with prices.
Early 1930s Frederick Herrschner catalog advertising various embroidery, crochet, and tatting threads.

Then you chose from many different thread types and a host of manufacturers. Silk embroidery floss. Imitation art silk floss, made from rayon. Pearl (perl) cotton. Wool three-strand embroidery yarns. Coton a broder, also known as broder cotton. This was a single strand of thread, available in several sizes and many colors up to about 2010. Size 16 was equivalent to two strands of embroidery floss.

Art embroidery

A bevy of bluebirds decorate household linens from 1915. Table runner, whisk broom holder, laundry bag, pillow cover, and more all feature  embroidered bluebirds.
Bluebirds in art embroidery

Embroidery used to be called Art Needlework when it was created for beauty’s sake. The person who made the family clothing always used a sewing needle. But when that needle worker used colored silks or cottons, and used the needle like a paintbrush, the work turned into art. Bluebirds sailed across household linens. Pine trees stood lonely and alone on hillsides. Flowers bloomed on everything from under linens to table runners. The vintage embroidery threads brought them to life.

Once needleworkers began to work with colors in embroidery they seldom looked back. You can see that by the current selection of modern cross stitch patterns.

The companies that released the threads also created patterns to work with them. After all, what good is a brilliant blue thread if you have nothing do use it for? Readers purchased patterns through the newspaper and monthly housekeeping or needlework magazines. They also found projects and threads from their friendly Frederick Herrschner mail order catalog, or through a flyer from their local dime store. By the 1930s it seemed that everyone was into the pattern or project by mail scheme, and needleworkers bought kits and supplies in droves.

Getting ready to begin

If the design didn’t come already stamped on fabric, the worker needed to transfer it. Then came thread selection time. Unless you planned to reproduce a lifelike flower in embroidery silks, or you worked from a prepackaged kit, colors remained up to the worker. Usually a pattern offered suggestions like brown, light blue, or dark pink. Which shades you pulled and how you incorporated the colors together was your choice. Between four or five cotton embroidery thread companies you might have ten or more shades of dark pink. This gave the worker a lot of leeway in color choice.

Often the project featured whatever threads I have on hand. An avid needleworker might have a small box of silk threads, a larger bag of cottons (or several bags of cottons), and some pearl cotton. These could be mixed into a work to create contrast, texture, and shine.

Bye bye threads

A red hank of embroidery thread, a green spool of thread, a red spool of thread, and a green hank of embroidery thread clustered together on a table.
Coton a Broder vs. Sulky Cotton Petites

Most of these vintage embroidery threads exist no longer. Some, like Corticelli and Richardson silks, are simply gone. Corticelli silks and Richardson silk mills both ceased operation in 1932. By this time companies like Bucilla introduced their synthetic art silk, often made from rayon. These threads didn’t really feel like silk, but they were shiny and inexpensive for embroidering. They too are gone, although Bucilla remains as a subsidiary of Plaid Enterprises, and embroidery kits continue to appear under the Bucilla name.

As I mentioned before, most of the coton a broder threads were discontinued in the 2010’s, at least in the U.S. It looks like this thread (also called broder special or brilliant cutwork and embroidery thread) is still being produced in limited colors by both DMC and Anchor. However, getting any of this to the U.S. can be a difficult matter. You may have to special order it from Europe if you want some. This is NOT the same as the thread called Floche. Floche is far more expensive and not as sturdy.

Good news

All is not dreary news, however. Some threads, like cotton embroidery floss and pearl cotton, still exist. You can find substitutes for many others, even though you may not find them at your local craft store. You might need to poke around a bit on the Internet to find them.

Here are some options:

  • Six strand embroidery floss: DMC, Anchor, Sullivan’s, Madeira.
  • Coton a broder/ broder special: You may be able to locate white, ecru, black in the U.S. As a substitute look at Sulky Petites, size 12. It’s thinner than the size 16 coton a broder, but it will give you the same experience of one strand that equals two strands of embroidery floss.
  • Pearl cotton: still exists. Look for DMC. Some chains have house brands in limited colors.
  • Silks: Shiny silks in the U.S. have largely been replaced by threads like DMC’s shiny satin, which is 100% rayon. For a traditional embroidery silk from France, look for Au Ver a Soie’s Alger thread.
  • Silks: Although they are not all shiny, companies have produced 100% silk embroidery threads within the past 20 years or so. Some options: Treenway Silks, Caron Waterlilies (silk variegated), Kreinik Silk Mori, Rainbow Gallery’s Splendor.
  • Stranded wools: Appleton wools have existed since 1835 in the UK and they still provide wool yarns to the needlepoint market. These work wonderfully for embroidery. Once I came across some instructions from the 1850s calling for “5 shades of apple green wool.” Who makes five shades of apple green? Appleton wools does. Their leaf green selections fit my project perfectly.

Be creative… have fun!

Regardless what threads you use, I hope you enjoy the process. Picking out various threads, choosing or drawing a pattern, beginning a project… these are exciting times. Incorporate one or two of these old-time threads into your next project, and see how you like it. You never know. You may be hooked.

History · The Magazine Rack

Ivy for Gold Star Mothers: a WWI Memorial

WWI photo of five service men clustered around an upright piano. The pianist plays a popular war tune while the there sing. One stands back, leaning on the piano, smiling.
Armistice Day: Remembering the boys who didn’t come home.

In the July 1920 issue of Woman’s Home Companion, a curious editorial snippet offered ivy to Gold Star mothers. The little article was so unusual that it caught my eye. Gold Star mothers lost their sons during World War I. The gold star established that this mother’s son enlisted, and this mother’s son died. The editorial said:

“Shortly after the declaration of the Armistice, in November, 1918, an American woman went over the Argonne battlefield with her husband. The sky was serene and the cannon had ceased to roar; but over and under and through everything was the ruin of war––the shattered, blasted trees, shallow ditches where men had taken hasty refuge, pits made by bursting shells, and mounds that still sheltered the dead where they had fallen.

The ivy

“But along with the gray desolation there was the hushed beauty and serenity of the ‘big timber’ forest itself. On the very top of one of the great hills the woman found some ivy growing. The broken branches of the trees around it were shriveled with the gases from the shells and blackened with fire; but the ivy was growing out again, a sign and symbol of life pushing forth anew in the midst of death.

He seemed so young to me, not yet nineteen, killed in action October, 1918.

a bereaved mother

“The woman dug up the ivy and carried it in a paper package on the five days’ motor trip back. In Paris, the French gardener at her friend’s house revived it. When it was time to sail for America, the ivy was at least alive. In her stateroom, homeward bound, she placed it near the air, and it suddenly began to grow. It has continued to grow ever since.

“Now there are hundreds of little ivy plants from that one shoot, and more are coming all the time.

The offer

“Any American mother whose son was lost in the war, and who would like to have one of these plants as a sign of green remembrance––and as a token from another American mother whose own sons are far too young to have been in the great war––is asked to write to Mrs. Frank Vanderlip, Scarborough-on-Hudson, New York. In writing, please give the boy’s name, regiment and number, and the mothers’ full name and address.”

The response

As I read the short editorial I felt my eyes burn with tears. And I wondered… what was the response? Did anyone take this lady’s offer and send for a plant?

Well, reading on, it seems that they did. The October 1920 editorial page contained an update on the ivy and the mothers who requested it. I’ll reproduce this part in full as well, because I think it brings us back to the real meaning of Armistice Day, and what it cost. It reads:

“Up to August 1st more than 400 mothers had asked fo these little plants, and been supplied. There were letters from every state in the Union.

With the hope that it will climb up to the window of the little room where my baby slept so few years ago. He was seventeen when he enlisted.

A bereaved mother

“A reading of these letters has been a most touching experience, and has brought a realization of the consequences of war which the dispatches from the front never did. Just what to call the little ivies seemed often puzzling, and the request might be for a spring, plant, cutting, slip, bud, seed, sprout, start, root, or shoot. But what matter? It was to ‘Plant on my dear boy’s grave’ or ‘With the hope that it will climb up to the window of the little room where my baby slept so few years ago. He was seventeen when he enlisted.’

They were so young

“Perhaps there is no thing in the letters more noticeable than the youth of those who have gone. ‘My boy was eighteen,’ the mother writes, or ‘twenty,’ or ‘twenty-two.’ There can be no quarrel with the use of the word boy. There is another term often used which tells this even more simply: my child. ‘He was our only child.’ ‘He seemed so young to me, not yet nineteen, killed in action October, 1918.’ And the brave attempt, old as sorrow itself –– which is the oldest thing in the world –– somehow to connect everything with the one one who is gone. ‘I think this piece, perhaps, may have come from the vine my boy may have seen there in the Argonne the morning he was killed.’

“The young ivy plants seemed to be good travelers. ‘It was hardly wilted’ came from as far away as Mississippi. ‘The sprout seems to be doing fine,’ writes another. And this, breathing enthusiasm and true optimism: ‘It is growing nicely. Had another leaf before a week.’ ‘I’m sure it will respond to affection. Flowers and plants know the touch of love quite as well as humans.’

“A pleasant thought cropping out in many letters is expressed by one mother when she says, ‘And when the ivy grows I will give slips to other Gold Star mothers, the same as you have done.’ In the meantime, Mrs. Vanderlip, whose ‘thoughtfulness, sweetness, and kindness’ is mentioned in almost every letter, has more baby ivy plants and she will gladly send them to those mothers who ask.”

Passing it on

Hopefully, those plants did thrive. And maybe some of the ivy for Gold Star mothers survived well enough to send cuttings to other Gold Star mothers, who treasured their little memory of green from France. Today many wear red poppies on Armistice Day to never forget. Hopefully the healthy green ivy helped these families to remember those lives cut so short by war.

Something a bit different

If the 1916-1920 time period intrigues you, you might enjoy Cinderella’s Confession. This dates from the same time period, and is an advertisement from 1919 changed the course of advertising history.