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An Art for Every Homemaker
Antimacassars were typically found in middle-class households, though mass-
produced versions were available for any who desired to keep their upholstery unsoiled.
As with other kinds of “fancy” domestic needlework, such as pillow covers or table
runners, these objects were made to embellish the surfaces of a well-furnished parlor,
and became canvases upon which a woman could express their creativity through
elaborate patterns and complex techniques.
Most of the surviving antimacassars are from the early twentieth century. One
particularly sophisticated example was made of linen and demonstrated a variety of
techniques, including needlework on knotted net, bobbin, and needle lace. The design
contains a heraldic device of a fleur-de-lis, shield, and flowering tree set into a large
diamond surmounted by a series of woven panels. The make also included tassels at the
pointed ends. This antimacassar was not meant to be soiled by hair oil and was more of
a decorative statement.
By the 1920s and 30s, antimacassars belonged with crocheted doilies, tea covers,
ornamental lacework mats, and other decorative covers whose “fussy” appearance in the
home was considered a holdover from the Victorian era. Nonetheless, they were a
failsafe domestic occupation for women concerned over having idle hands.

Designing Popularity
Antimacassars remained fashionable thanks to
Mary Card, an Australian designer who published
widely and was featured in the leading women’s
magazines. While earlier antimacassars typically
contained geometric patterns, Card popularized
the depiction of flora and fauna in needlework
designs. One such pattern featured a pair of
birds perched on tree branches, surrounded
by foliate and berries. A pair of matching
armchair covers each contained a single bird
in the same pattern. Made from ecru linen,
the “filet” crocheted technique was intended
to emulate fine lacework but has larger Antimacassar, designed by
stitches and has a chunkier look. Mary Card, 1932.
A finer example was worked by a member Museum of Applied Arts and Sciences.
of the Tucker family between 1900-1930. Inside Castle Tucker, their estate in
Wiscasset, Maine, a beautiful antimacassar set in the parlor featured scalloped
side and back edges, foliate decoration, and a peacock and swan. As with other
early twentieth century antimacassars, this delicate lacework was meant to be
admired but not touched, as etiquette dictated that the sitter does not lean all the
way back on the sofa or chair.
Antimacassars were also used in public transportation. Trains, buses, and
aircrafts placed fabric coverings on the seat headrests to extend the life of the
upholstery and provide the appearance of sanita-
tion. Linen companies produced these products
in bulk, typically adorning plain beige linen with
a decorative edging of machine-made cotton lace.
In the case of the Pennsylvania Railroad, their
antimacassars contained a stitched landscape
image with their trademark locomotives. These
commercial antimacassars remained in use for far
longer than their domestic counterparts, which
faded out of popularity in the postwar era. These
days, you’re still likely to encounter plain anti-
macassars branded with a company logo, but
those are a far cry from the lovely and unique
objects produced by industrious homemakers
over a century ago.
Single example from one of two pairs of lace
chair arm covers. Rectangular with lightly
scalloped side and back edges and larger Erica Lome is the Peggy N. Gerry Curatorial
scalloped front edge. Inner rectangle with Associate at the Concord Museum. She received her
foliate decoration. Original to Castle Ph.D. in History and Material Culture from the
Tucker (Wiscasset, ME). University of Delaware.
photo: Historic New England

Top left: Vintage antimacassar and chair arm protectors. Hand-crocheted from perle cotton

Middle left: “Cosy Antimacassar” featured in Weldon’s Practical Knitter eleventh series eBook.
from the book Lace, It’s origin and History by Samuel Goldenberg, 1904
Bottom left: Antimacassar needlework patterns, England, 1879

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