[lace] Contact for Diane Derbyshire?
Does anyone have a contact for Diane Derbyshire? Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachnelace.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] point ground with no gimp
Thanks to Jane Partridge and Adele Shaak for their replies to my conundrum. Adele is correct that Regency lace had no gimp on the outside, but did have gimp on the inside around little holes. I have always thought that this showed a preview of what would be later tried in Bedfordshire Maltese. Regency lace certainly has an ungainly appearance like this lace, so perhaps Adele is correct that it is a variation on Regency. If anyone wants to see an example of Regency, the Metropolitan Museum of Artâs piece, 26.281.1 (https://www.metmuseum.org/art/collection/search/222059) is a good example. It has a mildly wavy edge like the piece I am now examining. Janeâs suggestion is also interesting. I have seen machine made pieces that were made without gimp and that the lace runners then had to put gimp into with a needle. The Metâs piece, 13.163.3a https://www.metmuseum.org/art/collection/search/219579 is an example of that. In that case the design doesnât make any sense without the needle added gimp, which is not the case with this piece. And yet, the mesh of the piece in question is very regular and somewhat elongated, which is not the case with 13.163.3a, but which I sometimes think I see in machine made pieces. And there are some transitions that look odd to me. But the mesh on the Regency lace 26.181.1 is also elongated, if less regular. The piece in question has braided areas and I am not sure that this could have been done by the machine. Much to think about. Many thanks for the thought provoking suggestions. Devon PS. Best wishes to Jane for a successful treatment and recovery. - To unsubscribe send email to majord...@arachnelace.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] point ground with no gimp
Thanks to all who responded with helpful hints regarding my request for access to the museum of Halas lace, and also Arlene Scaroni. On another note. I have encountered a lace in the Met collection which is a point ground without any gimp. https://www.metmuseum.org/art/collection/search/214651 Please note, the picture enlarges. The information cites Lille or Arras as the origin of the lace. But, Lille lace has a gimp. Actually, as far as I can discover, all point grounds tend to have gimps since it helps to even out the design area. In fact, the effect of this lace is that the design area looks a bit rough. The information also says early 19th century. Is this some experimental lace? Or is there a genre of point ground without a gimp that I am simply not recalling? Help! Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachnelace.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Arlene Scaroni, and Hungarian contact
Dear Arachnids, As perhaps some of you know, I am the âcreative directorâ of the Lace Lectures series which is presented by the International Organization of Lace. I am trying to contact Arlene Scaroni in reference to a presentation on the Spiro Mound lace. I am also trying to contact the Halas Lace Museum, known as Halasi Csipke for a presentation. Does anyone have any information about the museum that would help me to contact them? I have tried sending an email to their email address. Also, I have filled out their contact form, although a previous inquiry to that form, about a book, was not responded to. The museum has been newly renovated and they have a new book about Halas lace. I thought it would be fun to hear from them about the lace and these other enterprises. Please let me know if you have any info. Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachnelace.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Nuremberg lace
Dear Ursula, Thank you so much for these references. Although I had looked for a lace museum in Nuremberg, I had not found this lace museum, nor had I understood how important the lace school in Nordhalben was both historically, and in its relation to the Deutsche Kloppelverband. I think I may write them an email about our lace pieces and see if they know anything about them. Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Nuremberg lace
I have encountered some pieces of lace said to have been made in Nuremberg in the 18th century. I donât know anything about Nuremberg lace production. There is something in Palliser about German production. She claims that â A museum has been lately formed at Nuremburg for works and objects connected with the lace manufacture and its history. It contains some interesting specimens of Nuremburg laceâ¦â Our piece is bobbin lace with a five hole ground, no gimp. It can be seen here: https://www.metmuseum.org/art/collection/search/214683 Any thoughts or insights would be appreciated. Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lorelei Halley
Loreleiâs family have been very generous in transferring ownership of a great amount of lace items to the IOLI. The IOLI has assumed responsibility for the Ning site and transferred it to the LaceIOLI.org site. Unfortunately, the person who was working on the site had to move and has not recently been able to work on it. I think that questions about it should be directed to Prabha Ramakrishnan the IOLI Vice President because she oversees media for the IOLI. Her email is vicepresid...@internationalorganizationoflace.org Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] "Four Great Lace Collections" & Threads of Power exhibit
Dear Nancy, Arlene and fellow Arachnids, I was also puzzled by the claim that there are four great lace collections and wondered what they were. I had it in mind to contact the Wall Street Journal writer and ask her to tell me. However, I imagine this was information contained in a press packet from the museum, so it might be better asked of the curators, or possibly the Textilmuseum in St. Gallen. (I did feel that it might be a little bit embarrassing, me being a big time lace aficionado, having to ask a reporter for the Wall Street Journal what the four big lace collections were.) But, I havenât had the time to ask about this because the Threads of Power exhibit at the Bard Graduate Center Gallery in New York is keeping me really busy. This is a great exhibit, including 151 pieces from the Textilmuseum in St. Gallen, Switzerland. I encourage everyone to try to see it. It is strong on 17th century lace and has pieces of astoundingly fine thread that allows for a great deal of definition to tiny figures of animals, mermen, etc. I have never seen such fine thread and it has really made me think. This is certainly the best and biggest lace exhibit to happen in New York since the Cooper-Hewitt show in 1982. The first floor is devoted to 17th century lace which is a transformative experience. But, it also includes a wonderful piece by Elena Kanagy-Loux. She was inspired by the fact that there are two very similar needle lace depictions of the story of Judith and Holofernes, one in the show, and one in the Metropolitan Museum collection. She was asked to make a piece of lace and keep track of the hours. She chose to do a very imaginative collar depicting Judith and Holofernes in the scallops. (Recall that she made an original collar for Justice Ruth Bader Ginsburg to be a gift from Columbia University.) It took over 200 hours to make the collar for the Bard. She filmed the process and there is a speeded up video of her working it. This is actually the first thing that visitors see when they enter the exhibit. On the second floor there is more 17th century lace, be still my beating heart, under the concept of focusing on the Habsburgâs lace. Included is a table cover with representations of the Golden Fleece that Is identical to the one in the V & A. I say this without fear of contradiction because I actually looked up the one at the V & A to check its measurements and they are the same. In fact, the information on the piece on the V & Aâs website is that there is an identical one in St. Gallen. The one at the V & A entered the collection in 1880 and the one at the Bard was bought at auction in 2006. What is the story behind this? What auction? Were there two or more originally? Is one a copy? Also on the second floor is an area on the French lace industry of the 17th and 18th century with some breath- taking lappets, again in incredibly fine thread. There is an area on ecclesiastical lace which includes the most prized possession of the Textilmuseum, a needle lace piece, possibly an antependium, dating from the late 17th century with tiny figures in 17th century dress incorporating gold thread. The third floor deals with the Ikle familyâs use of the collection to assist them in making authentic looking lace on the Schiffli machine. Also on the third floor is contemporary fashion made of machine made lace including Michelle Obamaâs dress that she wore to the 2009 inauguration. This was an extremely important loan to the Bard, although, for my part, I find my interest flagging when we get to machine made lace. In fact, a number of people have told me that they cannot take in the entire exhibit in one visit, and since they are lace people, I think they are talking about the first and second floor. Personally, I was so exhausted by the first floor that I had to traverse the second floor by moving a Bard provided folding museum stool along with me. I still feel I have not really absorbed it all. The exhibit includes oil paintings of people wearing the lace, an original pattern book, a print of a 17th century lace shop and all sorts of didactic material which I would find most interesting if it were not for the fact that I have only enough energy to focus on the lace itself. There are videos showing how lace is made. The scholarly work on putting on the exhibit is very impressive. There is also a catalog that is over 400 pages long with articles by lace scholars that we know and others that we do not know. There is an attempt to include lace made and worn by non-Europeans. In the exhibit there is an emphasis on the lacemakers themselves. The Bard held a class about the lacemakers and the members of the class researched them and produced digital material that enhances the exhibit. There are kiosks with a screen that allows you to interact with the material. Also there are black holes with glass surfaces in various places in the museum which allow you to down load an audio file with more material about the
RE: [lace] Brian and Bobbins
I second Sue. Thank you for all your scholarship and sharing. Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Fwd: looking for some hand holding, which can be aggravatingbut would be paid
Dear Carrie, There has been a wonderful development during the pandemic. The Lace Museum in Sunnyvale, CA has perfected the art of the online lace class. You take it using two devices, for instance your computer and your smart phone, the smart phone positioned over your pillow so that the camera is on your pillow. There is a device you can buy to hold the phone that is nominal in cost on Amazon. Karen Thompson, the teacher, is a renowned âhand-holderâ, very encouraging, etc. The classes get rave reviews. There is a beginning class and continuing intermediate classes. Go to the following link and scroll down to the bottom to find her classes. Maybe along the way there will be something else that catches your fancy. https://thelacemuseum.org/virtual-education/ For more inspiration, visit the Threads of Power exhibit at the Bard Graduate Center. It promises to be the biggest lace exhibit held in New York in easily 50 years with 150 objects coming from St. Gallen, Switzerland. It opens Sept. 16. https://www.bgc.bard.edu/exhibitions/exhibitions/118/threads-of-power Devon Sent from Mail for Windows From: Carolyn M Salafia Sent: Friday, August 19, 2022 11:51 AM To: New England Lace Group; Lace Arachne; Lace Museum; laceandb...@aol.com; lacena...@comcast.net Subject: [lace] Fwd: looking for some hand holding, which can be aggravatingbut would be paid the website link rejected my email (which may be telling) but if anyone willing to give me a try, please let me know thanks in advance carrie 9143565606 -- Forwarded message - From: Carrie Date: Fri, Aug 19, 2022 at 11:48 AM Subject: looking for some hand holding, which can be aggravating but would be paid To: datab...@internationalorganizationoflace.org < datab...@internationalorganizationoflace.org> Dear Ms Aycock: I have done a bunch on lace (can send pix) until a series of 5 ankle surgeries, 1 knee, 3 shoulder and 5 spine fusion surgeries (I now am completely fused from C2- sacrum). It has been a big mental block for me to sit back down and adjust lacemaking to my physical realities. I also am just frankly not good at pushing myself (push myself fine at work but not here, and that probably says something about me. Came to King of Prussia but ended up back in the hospital so any confidence I had was replaced by additional titanium rods in my spineb - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Importance of Myopia for lacemaking
Gentle Spiders, I have been told that I should have cataract surgery. There are many options in cataract surgery and I donât know that I understand them all. According to the doctor, I can have the inexpensive and largely insurance subsidized surgery in which I will have âbasicâ lenses implanted in my eye. (These are eerily called IOLs) The basic should return my eye to where it was pre-cataract. The alternative costs more, but would involve implanting a highly specialized lens in my eye that would address my astigmatism and it might even be possible to go glasses free afterward as I have not done since age 7. Supposedly the lens would run the gamut between seeing well at long distance, intermediate and close up. The general preference, it would seem is for people who wish to see distance, over close-up. I have always had very good close vision, myopia, and it has quite likely influenced my choice of lacemaking as a hobby. In fact, lately, I have noticed that my close vision is not as good as it was, leading me to unfairly criticize the choice of beige pricking card in two recent classes. I now think the problem was the cataracts. If my vision were returned to what it was before (basic lenses) I would be happy to have my same close vision that I am used to. My lifestyle wouldnât change. I would still wear startling red glasses as part of my style identity. I mentioned this to the doctor and he said that in the more expensive, multi-focus lenses he could put the focus anywhere I wanted, and I could have it rather close up and I would still wear glasses for long distance vision. Admittedly, I am somewhat intrigued by the idea of not feeling around for my glasses everyday. They donât fit too well over a K95 mask. So, a lens that does well at all distances has a certain appeal. I donât even know if I want him to put the focus in close quarters. After all, it is supposed to be good close-up. The more expensive surgery also is more likely to have issues since you have to seat the lens in exactly the correct position. However, the claim is that it doesnât happen that often. In both cases the surgery takes 20 minutes. Has anyone had cataract surgery? How has it affected your lacemaking? What choices did you make and are you happy with them? It would really be devastating to impair my lacemaking at this stage of my life. It is a little too late to find a hobby that requires good distance vision. Blindly, Devon Sent from Mail for Windows - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lacemaking in Colonial Spanish America
About 20 years ago I received a question about whether lace was being made in Colonial Spanish America. I did not know the answer. I asked a curator at he Hispanic Society. He didnât know, but he said it was very likely because the Spanish tended to set up these industries in their colonies. I asked another scholar at the Met about this and she said it would have to be researched in the Codexes. She was involved in a show, The Colonial Andes: Tapestries and Silverwork, 1530-1830. The show was very striking for the sophistication of the craftsmanship in the tapestries, as well as the Silver. Also there were many paintings showing people in Spanish America wearing lace. Today, on my Instagram stream I was treated to an image from a textile conservator that really caught my attention. It was from the Codex of Martinez Companon. The conservator says it is part of a manuscript sent to the king of Spain in the late 18th century. The information about it, in the index, says Mestiza de Valles texiendo trensilla. This seems to mean Mestizo woman weaving braid. Does this show a woman making bobbin lace? What do people think about this? Here is the link: http://www.cervantesvirtual.com/obra-visor/trujillo-del-peru--volumen-ii/html /966bf129-a181-4dd1-996b-ac44db7844e2_110.html Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] A Rembrandt discovered due to the lace
Could Laurie share with us a bit of the discussion about why this is obviously not bobbin lace? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace, not Lace opening Sept. 23-catalog
Dear Janice, I think the best photos would be the ones that are in the catalog, which will be available from Amazon for $30.00. Those people attending the opening and visiting the exhibit might like to buy the catalog from the museum to show support for them taking the risk of holding an exhibit of art made from lacemaking techniques. Three cheers for the Hunterdon Art Museum! Also, you could save money on postage. The catalog is 76 pages long and has photos of all the work except Manca Ahlinâs new piece, because it will only exist as of Sept. 23rd. There is an entry for each artist giving information about the artistâs work and background. Also, I asked each artist how they learned to make lace which I thought was interesting, since, as we know, it isnât the easiest thing to find instruction in. There is an essay by Dagmar Beckel-Machyckova describing the economic and governmental environment in Czechoslovakia that encouraged Czech modern lacemaking. The essay focuses on Milca Eremiasova who has taught and mentored Dagmar. There is also an essay by Lieve Jerger in which she explains the iconography of the Carriage of Lost Love, why she started it and what it means to her. I was overwhelmed by the generosity and skills of members of the Brooklyn Lace Guild who helped with the catalog. Elena Kanagy-Loux and Amy Mills did some sophisticated photo editing, hence the likely superiority of these photos to those that will be taken at the opening. Elena also did some great graphics for the glossary. Kathleen Collins spent an incredible amount of time designing and laying out the catalog and it shows. Kathleen works in art publishing and has decided to start her own press, Openwork Imprint. The mission of Openwork Imprint is to bring together new perspectives on textile-based processes and practices. I am also very thankful to Nancy Neff, a published author in her own right, two times over, for her help in editing. It was a wonderful experience working together as a team to produce this catalog. I thought it was very important to have a catalog because when a museum wants to put on a show the first thing they do is to collect catalogs of similar shows. Also, once the show is over, the only lasting record of it is the catalog. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] 17th cent bobbin lace, interesting technique
Dear Alix, Lorelei posted a photo of a piece with false plaits. That is what you saw that you correctly identified as modern bobbin lace. The second set of photos which you said was needle lace, but very distorted, is the Milanese lace that perfectly resembles mezzo punto, that I am referring to. Please look at the close-ups. It really fools the eye. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] movie-A Woman's Face
Yes, it was âA Womanâs Faceâ. >From the various write-ups, it sounds like there isnât any lacemaking in The Lacemaker, but I could be wrong. Are there any other ideas for a movie night at a lace retreat? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] interesting article - Elena Kanagy-Loux, Lacemaker
It is about Elena Kanagy-Loux. The article appears in Bust Magazine. Debbie Stoller, also an Arachne member and Brooklyn Lace Guild member is the editor of Bust and wrote the article. Elena demonstrated yesterday at the Brooklyn Museum as a representative of the Textile Arts Center. She posted a photo on the Brooklyn Lace Guild Instagram account here: https://www.instagram.com/p/BisTNEagMEp/?hl=en=brooklynlaceguild The Textile Arts Center is a mission driven, for profit, textile learning center in Brooklyn and Manhattan that has sponsored bobbin lace classes, taught by Elena, and allows us to use the premises for the Brooklyn Lace Guild meetings. For years there were no lace classes in the city because of the problem that there was no place to hold them, and all the people who might teach them were in New Jersey which was a time-consuming and expensive trip. Today Elena is teaching bobbin lace at the Textile Arts Center. Many of the people who take her classes enjoy the Lolita Goth aesthetic. It is the upcoming Friday that the Yale event occurs. Then on Saturday night another Brooklyn Lace Guild meeting. Seriously, things are popping here in the metro area. The lace world is really active. It is hard to report all the things that are going on and also participate in them. Letâs not forget that I am putting on a Contemporary Lace Show opening at the Hunterdon Art Museum in Clinton, NJ, opening Sept. 23, 2018 until Jan. 6, 2019. Living the dream, Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] 20th century grounds, test of "Clear formatting"
Vis a vis the catalog for Lace, not Lace. I am including Veronika Irvine in the show, and her interesting mathematically derived 21st century grounds. However, as I was scrutinizing Pierre Foucheâs work, Judgment of Paris II, which is also in the show, I realized, with his help, that the ground in the background of the piece is one that was invented by Ulrike Voelcker. Apparently, Ulrike taught a class in the 1990s where people designed new grounds. Simultaneously, Uta Ulrich was designing new grounds that later were published in Grunde mit System. This falls into the category of something I never thought about before. For some reason, I have always thought that most grounds had been developed in historical laces and were just being collected by later ground books. Was ground designing a late 20th century practice that was being done mostly in Germany? Were other people in other countries making up grounds? Did Cook and Stott make up grounds for their book? Do these ground differ in some way from historical grounds? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: 'Clifhangers' with some postings eg [lace] 20th century bobbin lacegrounds
I am receiving messages from me like this as well. Any suggestions from our more computer literate members about what is happening or how I could fix it? Devon Sent from Mail for Windows 10 From: Jay Ekers Sent: Tuesday, May 8, 2018 9:22 AM To: 'DevonThein'; 'Arachne' Subject: 'Clifhangers' with some postings eg [lace] 20th century bobbin lacegrounds I only get part of Devon's messages. The last character received is nearly always a 'b'. Jay in Sydney -Original Message- From: owner-l...@arachne.com <owner-l...@arachne.com> On Behalf Of DevonThein Sent: Tuesday, 8 May 2018 10:02 PM To: Arachne <lace@arachne.com> Subject: [lace] 20th century bobbin lace grounds Vis a vis the catalog for Lace, not Lace. I am including Veronika Irvine in the show, and her interesting mathematically derived 21st century grounds. However, as I was scrutinizing Pierre Foucheb - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] 20th century bobbin lace grounds
Vis a vis the catalog for Lace, not Lace. I am including Veronika Irvine in the show, and her interesting mathematically derived 21st century grounds. However, as I was scrutinizing Pierre Foucheâs work, Judgment of Paris II, which is also in the show, I realized, with his help, that the ground in the background of the piece is one that was invented by Ulrike Voelcker. Apparently, Ulrike taught a class in the 1990s where people designed new grounds. Simultaneously, Uta Ulrich was designing new grounds that later were published in Grunde mit System. This falls into the category of something I never thought about before. For some reason, I have always thought that most grounds had been developed in historical laces and were just being collected by later ground books. Was ground designing a late 20th century practice that was being done mostly in Germany? Were other people in other countries making up grounds? Did Cook and Stott make up grounds for their book? Do these ground differ in some way from historical grounds? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Honiton Lace in Yokohama
Thanks to a reply sent only to me, I have had my attention drawn to the quote in the Dover edition of Palliser (1914) on p. 417 âThe versatile Japanese have copied the Honiton method of makin gbobbin lace. The Government have encouraged a school at Yokohama for pillow lace making, under the supervision of an English lady where they turn out lace of a distinctive Japanese characterâ. Also provided was this link: See also americanhistory.si.edu/collections/search/object/nmah_633966 It is a photo of a piece of Honiton lace that has a look reminiscent of Origami. I did a bit of a search on Honiton and Japan, and found a reference to a catalog from an exhibition in which there were pieces identified as Japanese Honiton submitted in 1885, although sadly, no photos. Doe anyone have any information on this? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Japanese interest in lacemaking
As I am writing the catalog of Lace, not Lace, a lot of questions come to mind and I realize how little I know. I am under the impression that there was a period of time, possibly still continuing, where Japanese women became interested in bobbin lacemaking, and were taking lace tours of Belgium and seeking instruction in Europe. I donât know if this was primarily bobbin lace, or if needle lace was included. Does anybody know anything about this? I recall at one point I was signing up to take a lace identification class with Diane Claeys only to find it canceled because she had moved to Japan due to the intense interest there. Why were Japanese women interested in lace? Did this correspond with corporate assignments that their husbands may have had in European countries? In fact, we had several Japanese members in our lace group in New Jersey, but it seems that whatever was happening in the international corporate world isnât happening now, or at least that is my impression. Recently, we had a class with Kumiko in Binche here in New Jersey. To some, it would seem odd that we transport a teacher from Japan to teach us a Belgian lace, but her achievements in the Belgian lace educational system, in the Binche master class, and her willingness to come make this a treat. Also, now Kumiko and perhaps others, are designing Binche lace, but with contemporary motifs, making for an entirely different impact than traditional Binche. This seems like something that one ought to mention if one is talking about contemporary lace of the late 20th and early 21st century. Any insights, or direction to finding out more would be appreciated. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Laid grid, feature of late 19th century needle laces?
I am trying to write the catalog of the exhibit, Lace, not Lace. One of the artistâs, Penny Nickels, uses a ground that resembles a laid grid in an exciting way to create perspective. Would I be correct in saying this is a distinctive feature of 19th century needle laces? Would it be accurate to say it is distinctive to late 19th century needle laces? I see it in Point de Gaze. I think I have also seen it in Alencon, although I couldnât say from what date exactly. I generally have the sense that right angle, square type grounds belong to the 19th century, whereas previously hexagons were the major shape. Thoughts? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Geraldine Stott, Bridget Cook contact info?
Does anyone know how to contact either Geraldine Stott, or Bridget Cook? I am interested in reproducing a page from one of their books in the Lace, not Lace catalog. There is an artist in the show whose work is based on and influenced by their work. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] My AOL message failed to get past Arachne's panix blockthis morning
Dear David, This is distressing to hear. I have started a gmail account specifically to engage with Arachne. It is sometimes the case that I get over excited and respond from my AOL account. But, I had thought that I was quickly sending a duplicate post from the gmail account when I realize I have done this. Are people really just receiving the first few words when I send from the gmail account? I thought that was the silver bullet. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] point ground honeycomb? in Mechlin
I am looking at a piece in our collection. It says it is early 19th century Belgian lace, Mechlin. The background is Mechlin, but the Mechlin ground is widely spaced, like a 19th century Mechlin. One curious thing is that there is a ground that at first looks like honeycomb. But, in fact, it is more like two zig-zag chains (pin chains?) connected where they come close by a single cross, rather than by a downright pin chain. I can send photos. Has anyone seen this? Does it signify anything? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Arachne Anniversary-history
I was at an Arachne gathering at the Salt Lake City IOLI Convention and I realized that many of the younger members were computer gamers and some of the older members seem to have been part of the Dungeons and Dragons crowd. I found myself wondering if the founding of Arachne had occurred because lacemaking appeals to women with mathematical, scientific and coding experience, and those women who were very computer knowledgeable started an internet list about lacemaking as a result. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] How did Arachne start?
I was not among the first group to be part of Arachne. Instead I had been hearing about it for a while from people like Penny Boston, who is no longer on it, before I managed to become a part of it. How did it actually start and what was it like in the early days? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Finger looping
Gil says <> This reminds me that I was at a show at the Morgan Library not long ago where there were some 14th century Indulgences on display. These were the things you could buy in the medieval world in order to shorten your time in Purgatory. There were some braids on them that I thought might be finger looping, arguably a precursor to bobbin lace, which Gil and Jean Leader know about. If Sue will indulge me, perhaps I could send them to her and she could post them on the Arachne flicker account and maybe Gil and Jean Leader could tell me whether they think they are finger looping. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] defining lace
<> This may have to be in the catalog. In some case where there is a clear antecedent I am hoping to show an example in the catalog entry. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Point de Gaze surprisingly embroiderly
Catherine writes: Devon also mentions that Jill uses weaving techniques in her works but this technique is the main distinguishing feature to be found in Halas lace also. Yes, needle weaving is used in Halas lace. Also, I think is some very early laces. But, now that I am thinking about it, I am realizing that Point de Gaze has a lot of stiches that are these needle woven circles, often perched on radial or grid like âwarpâ threads. Looking at the diagrams in Earnshawâs book from Merehurst Embroidery Skills, I also see a petal that is a triangle lined with button hole stitches, but that has a Cretan stich connecting the two rows of button hole stitch, which is something I realize that the artist Agnes Herczeg does in her work. I never thought about it before we had this discussion of embroidery stitches in needle lace. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Contemporary Needle lace
Dear Catherine, I am truly grateful for the time you have spent on this. Be assured I am asking the artists for their statements about the works. It was the superficial and often misinformed treatment of lace by the mainstream press that made me wonder what it would be like if someone who actually knew about lace was to design a contemporary lace show. Having started lacemaking in the early 1970s I thought I might have a go at describing what each lace artist was doing. I donât find that there is a lot of critical commentary on lace art for me to read and absorb, so I am trying to analyze it as best I can, and to put it into a historical context of lace in the 20th and 21st centuries. I find that this is an era that tends to be skipped over in favor of highly romantic descriptions of 17th century lacemakers, or quaint cottagers at their pillows in front of rose covered dwellings. Another issue that I find I encounter when I am reading articles that have appeared about the artists in the show, in the past, is that the mere fact that they are using lacemaking technique overshadows everything else as the writer expounds on what lace is supposed to be, frilly, delicate, ultra feminine, and how this artist is at odds with that description. But almost never does the non-lace press talk about the special way the artist may be using the techniques that make it interesting. For instance I was examining Daniela Banatovaâs work the other day and noticed that she often uses a different colored worker than the passives, to create sort of a blending. Sometimes she uses a finer thread for some of the fillings to make them more faint. She uses long twisted sewings in the manner of Czech modern lace to create voids. In the early twentieth century if one wanted to have a discussion about what Picasso and Matisse were doing with their painting, one would go down to the Deux Magots and buy a cup of coffee and talk to the other people who were interested in painting. If I want to talk about lace, the place to go is Arachne. It gives me a chance to float any theories I may have and find out if they are crack pot theories before they actually appear in print. So, I am grateful for people who want to explore these topics and point out the flaws in my arguments and share ideas I havenât thought of. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Colour in lace
Regarding Alexâs insightful comment, I have to say that I go back and forth about color in lace myself. On the one hand, I like color. On the other hand, the palette of lace making is texture and pattern. When you are using pattern and differences in density for your palette you tend to use the techniques of bobbin lace and needle lace to their ultimate. In fact, it has been a bit of a problem in staging the exhibition. The exhibition isnât very colorful. The most vibrantly colorful objects are ones made by the lace artists of the 1970s. That phase appears to be over. Now lace artists are using the palette of pattern and texture to a greater extent, and are working in monochrome, even if the chrome may be red or black. I am finding myself realizing that lace technique developed in an environment of monochrome and miniaturization. But, modern art galleries are large places that typically display large colorful art. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Caulfeild/black diamonds/female work underappreciated
Thank you, Jeri for drawing my attention to this interesting tome. I actually own it, a facsimile of the 1882 version published in 1972. I have virtually never thumbed through it. I must have bought it close to 1972 when my interests and goals were very different than today, and having once dismissed it as uninteresting, did not go back to reexamine that conclusion until today. What a gold mine of information! Who would have thought that Diaper is from Ypres! Regarding the black diamonds in the text of my writings, I do not see them when I receive the messages I have sent to Arachne. I do see them when I receive from Jeri a quoted version of my words. Are most people seeing these annoying marks? Jeriâs observations about the lack of interest in womenâs history by public institutions seems very apropos in this #MeToo moment. In fact, I am reading a book by Elissa Auther, published in 2010 entitled The Hierarchy of Art and Craft in American Art. I am still on the chapter entitled Fiber Art and the Struggle for Legitimacy which details the immense difficulty of getting the art world to recognize fiber art as fine art. However, the third chapter is entitled The Feminist Politicization of the Art/Craft Divide. I have a feeling that I know what is coming⦠It is hard to avoid the conclusion that the one thing that the art world knows about the difference between fine art and craft is that if women do it, it is probably craft. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] What do bobbin and needle lace have in common?
I received this privately, âYou asked if bobbin and needle lace had anything in common, once the original look-alike aspect had diminished? Thinking about this, I thought Iâd consult Jack Lenor Larsenâs âInterlacedâ, as an accepted authority, but of course needlelace doesnât figure in that at all. Whereas bobbin lace is the most complex of all the interlacings (which include knotting and weaving, basketry etc), needle lace is an entirely different process. Itâs embroidery. Both incorporate space/air; how much or how little, is up to the practitioner. The further away from each other the threads are, the thicker they have to be to re-connect visually; Ros used quite fine ones, so chose to put them close together for the colour to sing. Itâs a very interesting subject all of its own.â This commenter says needle lace is embroidery, and I am observing that the needle lace books of the 1970s seemed to be making the leap off of fabric, but still retaining a very âembroiderlyâ look to them. But, interestingly, Milton Sonday, when he put on his notable show in 1982 called âLaceâ, observed that âNeedle-made lace is based on one of the oldest and most universal techniques: looping.â I think that you can probably find looping in textiles and baskets produced by stone age people. Perhaps looping even predates embroidery. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: RE: [lace] Nordfors Clark, Contemporary Needlelace
Catherine writes< Surely ALL needlelace is worked by the execution of the simple buttonhole stitch. if not, what other stich is used to work examples of Ros Hills, Contemporary needlelace, Bath's needlelace, or antique laces such as Point de Gaze, Hollie Point, Burano, Halas, Alencon, Youghal, Boris etc - they are all made with variations of either grouping, twisting, voiding etc on a simple Buttonhole stitch! Which stitch did Ros Hills, Jill Nordfors Clark and Virginia Churchill Bath use if wasn't the simple Buttonhole stitch I wonder?> I am writing a catalog entry for a work in the show by Jill Nordfors Clark, so I thought it would be a good idea to read her books as part of the research. I am surprised to see in her 1974 book that she has a lot of stitches such as chain stitch, coral stitch, stem stitch, Cretan stitch, Ceylon stitch and various knotted stitches in her work. In fact she has a stitch called Venetian-point stitch which is a knotted stitch and does not resemble what I perceive to be the stitches in Venetian lace. She also relies heavily on needle weaving, both on straight âwarpâ threads as she calls them and on radial ones. She also lays straight warp threads one way, then at right angles to them, creating a grid. Then she can work stitches on this by wrapping and weaving. In fact, the book deals a great deal with doing detached embroidery as part of surface embroidery, although she does mention that you can do it and cut away the supporting structure. However, there are not really a lot of instructions for that. There is no description of architects linen, or how to hide thread ends along the edges, and then cover them later. Many of the works in her book, when they are free standing have been worked on metal or wooden rings to provide the outside support. Just thumbing through it, the pieces in Bathâs book seem to do this kind of thing as well. Sadly, my copy of Nordfors 1974 book which I think I bought after her second book appeared in 1999, is a deaccessioned copy from the Osterhout Free Library of Wilkes-Barre, PA. I hope that it was deaccessioned because it was replaced with her second book which has a lot of the same material but has more color and photography. The second book appears to have a lengthy photo series of how to make lace with hog gut, which is new to it. One of the hog gut pieces, Sepia Bowl is going to be in the Lace, not Lace show. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Earnshaw, Diaper
I find it staggering to learn that Pat Earnshaw didnât make lace. Although I suppose it is possible that you could draw stitch diagrams from observation, the Merehurst Embroidery Skills book Needlelace has a great many photographs of the stitches and the processes which is part of its charm. Did she have someone else do these samples and set up the process shots? You are correct, âdiaperâ is nappy here. But, I think I have seen the term used for diamond shaped patterns in gros point. Perhaps I have picked up the term from reading antiquated lace identification guides or museum catalog cards. My American dictionary defines diaper in the second definition as 2. A linen or cotton fabric with a woven pattern of small constantly repeated figures, as diamonds. 3. Such a pattern (originally used in medieval weaving of silk and gold.) Would I be correct in assuming that the preferred term would be diamond? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Bath-changing style of contemporary Needlelace 1970s on
Cynthia makes an interesting observation, that in 1974 needle lace was considered needle-work or embroidery. Do you think it would be an accurate observation that the early contemporary needle lace books from the 1970s, such as Jill Nordforsâs Needle Lace and Needle Weaving and Bathâs book, had more varied stitches, derived from embroidery, whereas later books like Catherine Barleyâs 1993 and Pat Earnshawâs Needlelace, Merehurst Embroidery Skills book, 1992, relied more heavily, even in contemporary work, on the buttonhole stitch, be it corded, twisted, or multiply twisted. Pattern was being achieved, as historically was the case, by making the buttonhole stitch in singles, or doubles and in pea stitch. Patterns, such as diaper patterns where the pattern was an outline of missing stitches forming a void were used. Solid areas with portes were also used. Perhaps this was a result of the continuing study of the techniques of historical laces where there was not such a large repertoire of different stitches. Perhaps these discoveries were then imported into contemporary needle lace. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] color in lace-Virginia Churchill Bath
Thanks to Doris for her observation about the cover of Virginia Churchill Bathâs book. I have this book, published in 1974 by my side. (I am now reading these books as historical documents of the 1970s lace revival, whereas I first read them as contemporary âhow toâ books.) Does anyone know how she learned needle lace? Did she have a teacher? Did she use books from earlier lace revivals? I canât think of anyone else who has done large needle lace. Maybe I am blanking out on that, but it seems like working large is more likely to be a bobbin lace thing. It is unfortunate that most of the photos in the book are in black and white. I would like to see the pieces in color. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] hi res photo of Arpad Dekani lace?
I am writing the catalog entry for a piece of lace by Agnes Herczeg. Herczeg said in an interview that she admired the work of Arpad Dekani, the first designer of Halas lace, a Hungarian needle lace industry started in 1902. As part of my theory that todayâs lace artists draw inspiration from the early twentieth century artists and industries, I think it would be nice to have a hi res photo of one of Arpad Dekaniâs laces to accompany this entry. Does anyone know of a hi res photo of his work that might be on Open Access, or maybe be in private hands? If I have to pay for the photo, I will just refer to him in the text. But if there was one available for free, it would be nice to have it in the catalog. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Colour in lace-radical or historically correct?
Janeâs point about historic lace in color is well taken. In fact, I was privileged to take a tour of Spain in which we learned Frisado de Vallodolid, and also saw practically all the pieces in Spain. This lace which was made in the 16th and 17th centuries exclusively by nuns for church use was dazzlingly colored and embellished with gold and silver. I have always thought that the whiteness of lace was the result of the Protestant Reformation, sumptuary laws and laundry considerations as people in Europe decided to wear washable body linen next to their skin and embellish the area around the neck and hands where the linen showed. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] What do bobbin and needle lace have in common?/Needlelacerevival
Nancy writes: But needle lace and bobbin lace deserve to be treated together, in a show such as yours for example, because of the first point above, and because they are functionally similar enough (in spite of fundamental structural differences) that they can be combined harmoniously (Duchesse with Point de Gaze inserts, for a historical example). Another similarity that my husband pointed out was that they were both part of a huge commercial industry with many, many people producing lace exclusively for sale. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Re: Lace Revival of the 1970's-Pat Read
Dear Jane, Thank you for this long explanation of the origins of your mother, Pat Read and Lucy Kincaidâs book Milanese Lace: an Introduction. The linkage with the Maidmonts confirms one of my theories, that there were various linkages to the early 20th century lace revival in the lace revival of the late 20th century. I have just checked my tattered copy of Milanese Lace and see that it was published in 1988. I remember the first time I saw it. (Sort of like the Kennedy assassination, everyone remembers where they were.) I was taking a class in Crane House, an historic house in Montclair, NJ which met at night. This was my ânight outâ when my husband watched our small daughter, born in 1985. Somebody showed me the book and I was transformed. Having only done Torchon before this, the idea of the design possibilities of Milanese tape lace was overwhelming. It was among the most historic of laces, but many of the designs were very contemporary, the best of both worlds. I remember marveling with my teacher over the Peasant Girl figure on p. 126. Indeed there were very few things in that book that were not motifs. And just when you thought things couldnât get any more interesting, New Braids and Designs in Milanese Lace came out in 1994, with color in the designs. Louise Colgan and Sandi Woods continued the progression with their work. I think for the general public, they would see the pieces from the first book, all in white as lace. But the colored pieces they would not identify as lace. Do we identify them as lace? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] What do bobbin and needle lace have in common?/Needlelace revival
Catherine asks< Is there anyone out there who makes/teaches fine white traditional needlelace?> Carolyn Wetzel and Laurie Waters are both traditionalists. Although I do not teach, I have spent an inordinate amount of time looking at old laces and admiring them. I love Catherineâs books and have recommended them widely. But, it is an interesting question. From the need to qualify Needlelace with the term âfine white traditionalâ would I be correct in assuming that the use of color is no longer controversial and that colored pieces worked in buttonhole stitch are now considered lace? I think that in the 1960s and 1970s the use of color was revolutionary and shocking, often calling for condemnation from the âlace policeâ. I sense it is no longer the case. Color is really mainstream. But, this is part of the problem that I am encountering when I try to explain what lace is to the public. I present all these works such as Ros Hills and Wako Ono, and there is nothing in them to signal âlaceâ to the public. One is a form of weaving, and one is marginally an embroidery technique. I have tried to concentrate the show on bobbin and needle lace because I think that these techniques are not well-known, and need to be introduced to the public. Crochet, tatting, macramé, lace knitting, etc. are better known and need no introduction. Now I have the intellectual problem that the only thing that bobbin and needle lace had in common were that they were once made in white and looked very similar at that time, converging in appearance due to the demand for white luxury neckwear that existed in the 17th and 18th century. Now that they are not made in white, what do they have in common? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Instagram versus Facebook
Speaking as the editor of the facebook page of the International Organization of Lace, Inc., I can confirm that Facebook is being eclipsed by Instagram for younger lacemakers. I joined Instagram at the first meeting of the Brooklyn Lace Guild when I realized I would be totally out of the loop if I wasnât on it. Fortunately the other members were there to help me join and teach me how to tag. A video of me making lace at the Bust Craftacular event at the Brooklyn Expo Center which appeared on the Brooklynlaceguild Instagram account has now been viewed 45,305 times. I follow the lace artist Penny Nickels known as hagknight, and Manca Ahlin, known as mantzalin, Also in the Lace, not Lace show are alexgoldberg maggiehenselbrown, e.j.parkes Members of the Brooklyn Lace Guild include kathco_, redhandledscissors, erenanaomi , therapeuticlace. Also, there are some of my own generation on Instagram. You know who you are, purplenana6 ! When one posts on Instagram one posts a single photo. Frequently these photos are very cleverly posed and arranged so that they tell an entire story in one picture. With these well posed, and very compelling photos, it is possible to convey messages to people regardless of what language they speak. âVisual literacyâ is a term that IOLI social media guru Julie Envoldson used to describe this. Anecdotally, when my daughterâs cat set up its social media presence, it did not bother with facebook choosing only Instagram to detail its activities such as eating, and sleeping. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace not lace
Doris writes: An article about fiber art in last Sundayâs NYTimes Style Magazine titledâA SINGLE THREADâ cited many artists and textile techniques âknitting, weaving, crochet,embroidery etc.-but was disappointing in that there was no mention of lace and lace artists. I think a very sharp letter to the editor is in order. Maybe several. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Contemporary lace
Lorelei says that â As for lace being white and having holes in it - my personal definition has to do with transparency or partial transparency and white just doesn't matter. (Although white or a solid color focuses the attention on the transparency aspect.)â I have been fortunate to convince Ros Hills to loan to the exhibit two works. One is  I am woman, which can be seen on p. 120 of the book  Merehurst Embroidery Skills Needlelace, by Pat Earnshaw. Also she is lending Purse 2, which was made at the same time and resembles the purse that was bought by the Victoria and Albert Museum as an example of contemporary needle lace. The pieces are a riot of color and for those who like gros point, you can really see wild and over the top use of the built up embellishments that characterize that lace. But, the pieces are actually quite dense. They are not very transparent at all, and those people who will see them will be asking, not without justification, âwhere is the lace?â This is one of the contradictions that I am dealing with. The pieces are a cloth made of buttonhole stitches, with no underlying fabric. Is that lace? If not, what is it? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Lace, Not Lace Reaction to Needle Lace Revival Arachne comments3/28/18
Well, this is exciting. The exhibit is controversial! The title, Lace, not Lace was meant to refer to the fact that the public considers anything that is white and has holes in it to be lace. But, the purpose of the exhibit is to show pieces made in bobbin and needle lace techniques and includes many pieces that are not white and many that are rather solid in appearance, such as two pieces by Ros Hills. The needle lacers that we discussed yesterday are Maggie Hensel-Brown who uses Punto in Aria technique. E.J. Parkes whose work that depicts an arm is worked in very finely worked needle lace, although in color. Penny Nicholsâs works Jersey Devil and Just Girly Things will be in the show. Penny also did a piece that is not going to be in the show, The Endurance, which has the snow effects we were talking about. There are some widely spaced irregular stitches in The Endurance in the snow area. But, in fact this is not the direction in which Pennyâs work is going. I think that Just Girly Things and the Jersey Devil are more revolutionary in terms of subject matter than technique. I am very impressed by the technique of these artists, which they have learned from mastersâ¦I donât think I could make these pieces. In the Jersey Devil, Penny uses three different weights of thread in corded Brussels stitch to indicate gradations between snow and sand. What do the members of Arachne think of these works, having looked at them? I am interested to hear the views of Arachne, because I am writing a catalog and it would be useful to know how people who were part of the lace revival of the 1970s feel about the lace revival of the twenty teens. I am planning to put information in the catalog about the forerunners. But, the museum is a Contemporary Art Museum which was interested in having a contemporary lace show. The needle lace artists in the show are Ros Hlls, Jill Nordfors Clark, Dorrie Millerson, Penny Nickels, Maggie Hensel-Brown, Agnes Herczeg, E.J. Parkes, and Nava Lubelski. What do you think of the work? By all means, donât be polite. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Nenia Lovesey-City and Guilds
Kathleen writes: I think Nena wrote the needlelace books because she wanted the lace revival to include needlelace. There were already several bobbin lace books around, but none on needlelace at that time. I think that needlelace was her favourite craft! I am trying to write the catalog for the exhibit. Since Ros Hills is in the show, I sat down to reread her books. In Colour and Texture in Needlelace, she makes reference to Nenia Lovesay. I was surprised to hear that Nenia made bobbin lace, as I had always associated her with needle lace. I had not realized what a major figure she was, though. Both she and Ros were involved in the City and Guilds program which I am beginning to realize must have had major impact. We didnât have it over here in the US, of course. I get the impression that this program is no longer in existence? Is that right? Was the City and Guilds program a major driver of the lace movement in the UK? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Needle lace revival
If you watch a 17 minute interview with Maggie Hensel-Brown https://www.youtube.com/watch?v=RsO5wICsojY conducted by Angharad Rixon, proprietor of Textile Support and the genius behind The Doily Free Zone, you will see that she credits a class with Margaret Stephens with setting her off on her lace journey. I am featuring a series of three pieces of Maggieâs depicting unexceptional moments in the show Lace, not Lace, in New Jersey. These are based on the style of historic punto in aria such as the Judith and Holofernes lace in the Metropolitan Museum. Maggie is now making another series of works dealing with issues of the status of women. She has begun to incorporate, very cautiously, some color in the work. Her piece â Tripped up and strung up on a never ending stream of comments from strange menâ is probably best viewed on her Instagram account. But, it incorporates little male figures that reference ones often found in Italian needle lace. So, in fact, young artists are learning the skills from traditionalists who preserve and teach them. In addition to that, although my sample is very small, I think that the new needle lacers may start out with larger, irregular stitches, impressionistically applied. But, as they develop, they tend to seek out more sophisticated techniques, looking at Catherineâs work and others, and to incorporate them, and also to improve their technique and regularize the tension. But, an interesting situation that I am encountering is that people who are not in the lace world already are more readily attracted to large pieces, and ones with irregular stitching because they can see what is happening in them. When there are exquisite small pieces that use the techniques perfectly and in a sophisticated way, members of the public tend to blank out and not even think about how the piece is made. Thus it becomes less interesting. It is sort of a situation where say, you are a person who has enjoyed seeing huge Roman mosaics, and then you see very small miniature Byzantine mosaics. You say, âWow, this is like a huge beautiful mosaic, but someone had the skill to make it minuteâ. Instead, in the lace world, you say about a large piece made in cord, or rope, âthis is fascinating in the way the threads move in and out in a complex fashion.â But when you see a small complex, intricate piece where you can barely see the threads moving in an out in complicated patterns, you say, âthis is like lace trim from the five and dimeâ. Challengesâ¦In a way, the public needs to learn about the techniques used in a simple way, before they can appreciate their use in a more complex way. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Needle Lace revival
Oops. Sorry, Madame Laurie. Canât wait to see your articles. Everyone save our lobster claws. Needle lace lives! Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Needle Lace Revival
Catherine writes: Is there no one out there who makes beautiful fine white needlelace and who can pass on these techniques for the benefit of future generations? I have done my level best over several decades, travelling many thousands of miles both here in the UK and overseas to pass on my skills, but all I hear is "I couldn't possibly see to do such fine work" but I see beautiful fine white Honiton lace still being made, along with gorgeous Binche, Bucks etc so why is it so difficult to find a tutor to teach 'Traditional Needlelace" I wonder? In the US, Carolyn Wetzel is investing a tremendous amount of time, effort and money to become a needle lace teacher with expertise in Aemelia Ars, Alencon and Frisado de Valladolid. She is a real asset in perpetuating needle lace. I think it is imperative to give some recognition to, and to exhibit, youngish needle lace artists. With no encouragement, they will stop doing needle lace art and go on to do something that is better understood and appreciated. My exhibit Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques has several young(ish) needle lacemakers in it. One is Penny Nickels. She has a blogspot called Donkeywolf http://donkeywolf.blogspot.com/ where you can see two works that will be in the show. One is The Jersey Devil, the other is Just Girly Things. She employed some gros point techniques in Just Girly Things. If you continue to scroll down, and go to another page with older posts you will see The Endurance, about the Shackleton Expedition. I love the way that she varies the stitch densities in the snow. While Catherine does not know about Penny, Penny knows about Catherine because we have discussed Catherineâs snow oriented work. Penny is not afraid to spend a lot of time working on her art. She is largely self-taught, which is amazing. Maggie Hensel-Brown will also be shown. She is an Australian who works in Punto in Aria technique. Also, E.J. Parkes, who has made a life size arm in very fine needle lace stitches, showing the musculature and bones, etc. I think I see the signs of an upcoming lace revival. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
Lyn feels that there was very little official fostering of crafts in the US, as opposed to England, and I think she may be right. Most of these crafts are not considered heritage items in the US. (Maybe quilting is.) One thing that is mentioned in Andrea Plumâs article was that there were a lot of pretty colored publications. Maybe we were reading these publications in the US. Several people have mentioned womenâs magazines, and Golden Hands. Andrea Plum also says that âthe 1970s craft revival can also be linked to changes in fine art ideology at this time. Contemporary art in the twentieth century was largely defined by the rise of conceptualism, which gave precedence to ideas over making. The art historian Edward Lucie-Smith provided a critical context for the craft revival in his text. The Story of Craft (1980) arguing that the renewed interest in craft was a result of changes in fine at: âthere began to appear a hunger for physical virtuosity in the handing of materials, something which many artists were no longer happy to provide.ââ This also resonates a bit with what people have been saying, for instance Adeleâs observation that people were sick of the 1960s aesthetic. Devon Sent from Mail for Windows 10 From: lynrbai...@supernet.com Sent: Tuesday, March 27, 2018 12:08 PM To: lace@arachne.com Subject: [lace] Lace Revival of the 1970s There is a big difference between either side of the Pond. On the Eastern side there was frequently a relative who made lace. One knew of its existence, usually. It was around. You might have had to look for it, but it was there. In the United States, certainly, one didn't know what it was. No one did it. That being said, I'm sure someone did it, but so few as to be the exception to the rule. As travel across the Pond became more common with ordinary people, exposure increased, and at least two Americans learned the basics in England and brought the enthusiasm home. I have heard that Holly would sit on a corner in downtown Ithaca making lace. The other difference is that it appears that on the Eastern side, crafts, especially traditional ones practiced in the area were fostered officially. There is very, very little of that in the US. When I'm sitting making lace in America, people ask what I am doing, unless they are Canadian. I will never forget working on my travel pillow at Heathrow and a young woman ask me what kind of lace I was making. That's the difference. "My email sends out an automatic message Arachne members, please ignore it. I read your emails." - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Nenia Lovesey- the Tebbs's
Jeri brings up another example, that of Louisa and Rosa Tebbs, and Nenia Lovesey, that shows a linkage between the early 20th century lace boom and the one in the 1970s. My sense is that there were just enough people left over from the early 20th century lace enterprises to seed the 1970s lace revival. Earlier someone mentioned the Winslow industries. In Denmark, according to the book Pomp & Poetry, there was a Weaving Workshop that was established in the early Twentieth Century, which included lacemaking. The article by Andrea Plum, which is very short and not oriented toward lace, does not mention this as a factor. But, it has come out in a number of these personal reminiscences. That there actually was a large pool of people who had learned lacemaking as part of largely unsuccessful profit making enterprises in the early 20th century is an interesting thing. When the Burano lace industry was started after the bad winter of 1872, they had to locate an old woman who had made lace earlier in her life when it was still a viable craft. This was the elderly, illiterate Cencia Scarpariola. Is it a pattern? Just when it looks like it is dying out it is rediscovered? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace Revival
You would think that someone had written about the Craft revival of the 1970s, but when I search for this topic, only one article comes up, by Andrea Peach called Crafting Revivals? An investigation into the craft revival of the 1970s: can contemporary comparisons be drawn? She has made it available to everyone at this site: https://openair.rgu.ac.uk/handle/10059/2695 It is a very short article and I encourage everyone to read it. She writes: Craft in Britain flourished during the 1970s largely due to the activities of the Crafts Advisory Committee (CAC) now the Crafts Council, which was established in 1970. The CAC was a state backed, central organization charged specifically with shaping a new identity for Britainâs crafts. Its remit included raising the professional status of crafts, and promoting the craftsman as âartistââ¦. The CAC facilitated and nurtured craft through the allocation of grants and loans, the commissioning and patronage of work, the organization of exhibitions, publications and publicity, as well as the running of conservation projects and training. It was responsible for the creation of Crafts magazine in 1973, which is still in circulation. Crafts was visually exciting in comparison to other art magazines of the time, containing large colour photographs and profiles of makers involved with âthe new craftsâ. No one has mentioned the Crafts Advisory Committee, and yet so many of our descriptions of how we got started include going to some class that someone had organized. Was it the Crafts Advisory Committee that was funding these? I am not sure how this applies to what was happening in the US, although clearly we benefited from a ripple effect. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s - mystery book probably...
Yes! You are correct. It was Knyppling. I couldnât remember what it was, even though I picked up a copy at an estate sale fairly recently. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
Jo raises some interesting insights. One thing she mentions is the crafts to leisure aspect. Originally there seemed to be an ethos that one was practicing a âuseful craftâ. For instance, you made a quilt because you needed a bed covering, or a doily because every well kept house required doilies. At a certain point, I think that the concept that you were doing this as a âchoreâ gave way to the idea that it was a leisure activity that was fun, and might even be a mode of artistic expression. Mass production really took the steam out of any argument that you were doing this sort of thing because it was a housekeeping requirement. I still recall that there was a time when people made their own clothes to save money. But, when I touched base with a friend who taught sewing about ten years ago she confirmed that it was impossible to make a garment for as little money as you could buy one, and that most of her sewing clients made their own clothes because they had unusual requirements, often religious in nature. Jo mentions that women typically left their jobs to have families in the 1950s and by the 1970s they had empty nests. When I first went to lace meetings in the 1970s, they occurred on weekdays, running from 10 in the morning until about 2:30 in the afternoon, because that is when the kids came home. Later, in the 1980s and 90s with more women in the work place, this schedule began to be problematical. But attempts to have lace meetings on the weekends and weekday evenings didnât work too well either because women simply had less leisure time. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
Thanks for mentioning the Torchon Lace Company and the Princess lace pillow. I would relate this to the early 20th century lacemaking ideas which included trying to make lace for money, rather than leisure. Examples include the Sybil Carter missions and Italian Lace School (cut work). But, surely there must have been people left over from these attempts who were still around in the 1970s. These movements have parallels in Europe such as the Industrie Feminilli. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
Yes! Thanks. I just looked it up. 1987. I think Trenna Rufner was also involved in the lace postage stamps. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace Revival of the 1970s
Lyn made a comment, that perhaps only I got, that she thought that the Back to Earth movement had a lot to do with it. She discounts the Bi-Centennial. However, there was a huge call for crafters during the Bi-Centennial. I participated in the making of a quilt to commemorate Rockland Country (New York History) and demonstrated at the re-enactment of the Battle of Stony Point. However the Back to Earth movement was very present as well. I still have Alicia Bay Lauralâs book Living on Earth, and Native American Funk and Flash. Not that long ago I saw both of these tomes at an exhibit at the Museum of Arts and Design, along with examples from a contest (that I remembered) that was sponsored by Levi Strauss and that involved embroidering blue jeans. The quality of the embroidery was spectacular, and so vibrant. In fact, there was a garment by Jill Nordfors Clark in this exhibit, actually connecting one of our American needle lace artists with this movement. I was in heaven. It was quite amazing to see someone collect these artifacts, many still in my âlace roomâ as part of an historical phenomenon. (Feeling old.) In fact, I embroidered my own denim shirt with animals and war medals when I was a teenager, sort of like Native American Funk and Flash, and my daughter has claimed it. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
<< Shortly after I started in England in 1971 I bought a copy of Maidment Bobbin Lace Work printed in 1971. >> So interesting to see this cluster of books being published and republished in the 1970s. But why? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Lace Revival of the 1970s
Lyn makes the point that airfare was getting cheaper so that there would have been more exposure to lace. In fact, the first time I saw it was on a vacation trip to Bruges probably in the late 1960s. I was an adolescent, and there were girls my age making lace by the canals. I have always thought it was the steamship that resulted in the first lace collecting craze in the late 19th, early 20th century, when wealthy Americans were able to travel to Europe with greater ease than previously. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
Where did Doris Southard learn to make lace, or how? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace Revival of the 1970s
Adele makes the interesting point that it wasnât until the 1970s that it began to be possible to buy books published by mainstream publishers about how to make bobbin lace. She observes that her lace club actually started in 1955 but had huge impediments due to the lack of instruction and books. The IOLI also dates from the 1950s. However, when I took bobbin lace in the 1970s I asked my teacher if there was a book I could use and the only one she could offer was in a Scandinavian language. Although she felt it was better than nothing because of the photos, I was not really smart enough to be able to take advantage of it. Then Kaethe Kliot published her book in 1973 which was a very mind expanding book providing a lot of inspiration, although, again on my part, I really couldnât learn from it. But the photos of her making a lace pillow, and her contemporary lace showed what was possible. Also, I enjoyed the photos from the early twentieth century with lots of bobbins and more traditional patterns. Another source material for me was the Anchor Manual given to me by the mother of a friend, my copy dating from 1970. Alas this was another book that I tried, but failed to learn from. Nothing really worked for me except the individual instruction that came with materials, tools and patterns. Obtaining the materials and tools was a major factor then. Fortunately Gunvorâs mother ran a lace supply business in Tonder, so we never wanted for these. I donât think I could ever have taught myself from a book. It was hard enough learning without having to overcome the obstacles involved in getting bobbins. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace Revival of the 1970s
People are contacting me privately with observations which are very interesting. One correspondent believes that post war immigration of Europeans to the US was a factor in the development of lacemaking here. This is an interesting observation because there were a number of people who were major figures in the 1970s who had learned lace in Europe. My teacher, Gunvor Jorgensen, learned lace in Tonder, Denmark. It took me a while to realize that she had not learned this as some kind of a folk progression leading directly from the 17th century, but rather as part of a late 19th, early 20th century government initiative to re-introduce this important heritage craft to Tonder. Kathe Kliot was a German refugee who was very instrumental in the California lace movement. Radmila Zuman was from Czecholoslovakia. In addition to the immigrants, Americans were learning the craft in Europe possibly during military or other job postings. In fact, it would have been rather hard to learn the craft in the US from someone who had learned it in the US in the 1970s, although it would not be the case now. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace Revival of the 1970s
Sue, your observation about taking a class in an adult school in England is interesting. I think there was more of that in Great Britain than in the US at the time. But, Holly van Sciver took an adult school class in England while there for a college semester abroad. Eventually she was a large spur to the US movement by sharing her skills through teaching, bobbin making, and vending, so arguably the adult schools of England were instrumental in the development of the lace movement in the US. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace Revival of the 1970s
I am attempting to write a catalog for the Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques. The exhibit will include the work of Ros Hills, Lieve Jerger, and Jill Nordfors Clark who I consider to have begun their activity during the lace revival of the 1970s. If I were to try to establish a context for what was happening in lace at that time, what are the most important things that I would touch on? Off the top of my head: Last remnants of the lace collecting boom of the 1920s and the early 20th century lace craft industry revivals. Kathe Kliot and Lacis Robin Lewis Wild and the large Tennessee Valley piece The Bi-Centennial in the US, and its interest in Colonial Crafts A generalized craft revival due to a variety of social and economic aspects, such as a rejection of consumerism, the hippie movement, embroidered jeans, macramé, string art. The lace show at the Cooper-Hewitt, which was actually in the early 1980s. I began to make lace in 1971, but I was not a very objective observer of what was going on and how it fit into any kind of historical context. What do people think accounted for and contributed to the surge of interest in lace in 1970s? What should be included? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] William Pegg
Thanks to all who responded. I have the article in Lace 98 and it is very interesting. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Bonington Gallery in Nottingham UK - Lace Blog
ââStoriesâ from the archive include Harry Crossâs drawings from the Battle of Britain panel, and NTU alumnus William Peggâs shift from award winning designer of lace to expressing his socialist beliefs through this medium.â I would like to hear more about how William Pegg expressed his socialist beliefs through the medium of lace design. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Fashion History books
Loreleiâs query about fashion history books is a good question. The problem encountered by the lace historian is to try to figure out what all these pieces of lace in museum collections started out trying to be. It is very vexing, and I wish I understood the topic better. I have found the books by Aileen Ribeiro to be very helpful. The Art of Dress: Fashion in England and France, 1750-1820 Fashion and Fiction: Dress in Art and Literature in Stuart England Dress in Eighteenth-Century Europe 1715-1789 A problem with a lot of books is that they cover such a long period that they donât spend much time on any particular era, and thus any time spent on lace is infinitesimal. That said, I find on my shelf: Four Hundred Years of Fashion, Victoria and Albert Museum, The Visual History of Costume, Ribeiro & Coming, Accessories of Dress, An Illustrated Encyclopedia, Lester & Oerke The Art of Dress, Clothes and Society, 1500-1914, Jane Ashelford Victorian and Edwardian Fashion, A photographic survey, Alison Gernstein This last book is a Dover book that I picked up at Craftsman Farm in Parsippany-Troy Hills, NJ, the workshop of Gustav Stickley, a designer for the Arts and Crafts movement. This book has the merit that pictures donât lie. Any book that is actually written about fashion quite likely leaves out the lace as unimportant. But photographs of the late 19th and early 20th century can show lace on them. It is mostly these strange shaped accessories that one does find in museum collections, and antique shows, sometimes even composed of older lace. So, my only fault with this book is that I wish there were more photographs and even less writing. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Is there a video about the history of lace?
The director of the Hunterdon Art Museum asked me this the other day, and I did not know the answer. She wants to include didactic material about the history of lace in the exhibit. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques
Dear Sue, A similar question was asked by Alice earlier in the week. I put it to the Director of the Hunterdon Art Museum and this was her answer. âWe keep very good records of every donation - how much, from whom, etc. The Museum has software specifically for tracking donations. It's very professional.  The exhibition will not be cancelled.  We will do the lace show. Whether we can include The Urchins and The Carriage of Lost Love depends on how much is raised, but we are trying very hard, and I am optimistic that it will happen. The donations that are sent to the Lace Fund will be used for Lace, not Lace so they will not be refunded. I would hope that those who want to see the exhibition happen, will understand that it is important for this show to go forward even if we cannot include everything we had hoped to. Again, it is my intention to include The Urchins and The Carriage of Lost Love, but until I have the money in hand I cannot promise. I hope this answers the questions sufficiently. If not, please let me knowâ The museum is seeking $60,000 in funding. This will include shipping, public programming, fine arts insurance, a catalog, fabrication, framing, marketing and advertising. There will be an opening. I have put forth several ideas for classes and talks. (I am afraid that these may be on the chopping block in a low fund situation.) The museum does a very professional job of advertising the show. They make beautiful postcards that they send to members and others. This increases traffic to the show, which is what we want, and what they want. So far, the museum has received slightly over $10,000 that I know about. They are seeking funds from various local companies and individuals as well as foundations. The Urchins are the most expensive part of the show, as it is necessary to bring them to New Jersey on a truck, get trusses and rigging and a boom lift, engineering drawings, also lighting considerations. As I understand it, Choi + Shine would need to send a representative down to supervise the installation. However they claim that a team of about 5 volunteers can do it under supervision. My husband and his cousin are standing ready to be on the team. (They claim it doesnât take a lot of physical strength, but I donât know if I would be much help on the team. ) If the Urchins are part of the show, they will be on the outside terrace where they will make a big splash. This will draw a lot of attention to the show from the press who are always looking for a good photograph. It will also draw people into the show. The Carriage of Lost Love by Lieve is absolutely magical. The Hunterdon Art Museum does a lot of childrenâs classes and programs. I canât wait for the young girls to see this fantastic lace piece. The museum considered Kickstarter. But, with Kickstarter, if you donât get the entire amount, then the rest of the funds are returned. Since they are committed to doing the show regardless, this didnât seem like a good idea. Another consideration is that funds donated to the Lace Fund at the museum are tax deductible, whereas we do not believe that the funds to Kickstarter would be. Also, Kickstarter takes some a percentage of the funds as part of their service. So, it was kind of agonizing to think that peopleâs money intended for the Lace Exhibit would instead go to Kickstarter. Here is the link again: https://hunterdonartmuseum.org/support-lace-fund/ Sincerely, Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace in the news
Since Jeri has asked to have people share newspaper articles, here is one that appeared in the Wall Street Journal. https://www.wsj.com/articles/lace-takes-a-modern-turn-in-interiors-1518798031 The author took a bobbin lace class with Brooklyn Lace Guild co-founder Elena Kanagy-Loux in Manhattan and enjoyed it a lot. Although the article is about lace used in interior design, she was able to incorporate discussion of handmade lace, and included a mention and photo of Manca Ahlinâs work. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Bone lace
While researching lace tells for St. Catherineâs Day, I came across, again, the similar usage in the Shakespearean quote: O, fellow, come, the song we had last night.â Mark it, Cesario, it is old and plain; The spinsters and the knitters in the sun And the free maids that weave their thread with bones Do use to chant it. It is silly sooth, And dallies with the innocence of love, Like the old age. Devon unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques
Fellow Spiders, In response to Jeriâs request, I would like to share my excitement about the exhibit Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques. As the Lace Study Editor of the Bulletin of the International Organization of Lace, I have been writing reviews of any and all exhibits that purport to include lace in my part of the world. But, one thing that had begun to rankle was the realization that very few exhibits of âContemporary Laceâ occurring in mainstream museums included any lace made using bobbin or needle lace techniques. Marching through miles of laser cutting, blow torch work on metal, white ceramic with holes in it, I wondered why we never saw any contemporary lace that was made with needle or bobbin, since I knew there were some wonderful pieces being made. I designed a show that includes 23 artists from around the world who are doing compelling work in needle and bobbin techniques. Also, included in the show is the Urchins by Choi + Shine, which is crochet, on a large scale. Undoubtedly some people on Arachne have been involved as volunteer crocheters on this project. The exhibit is oriented toward introducing the public and fiber artists to these very versatile fiber art techniques. Along the way, I realized that a lot of what we make in lace techniques does not fit the popular conception of what lace is. To the man on the street lace is something white with holes in it. Recent exhibitions have only expanded the definition from a white, holey textile to anything in any substance that is white with holes in it. Meanwhile our work is evolving to include color, and to make textiles that may be more solid in appearance, even three dimensional. Sometimes people will look at a piece that is made in lace technique, such as Dorie Millersonâs tiny needle lace sculptures, or Manca Ahlinâs large bobbin lace installations and they will not recognize that it is lace technique. They just donât know how it is made. Fortuitously, there are in the New York Metropolitan area, three women who have been working on lace technique. They are Manca Ahlin, Alex Goldberg, and J Carpenter. By pure chance, or maybe not, they tend to make large work, so I have been able to source the larger works in the show from them. If need be my husband and I can drive the works to the museum. The artists are excited about the show. One fear I have had is that artists who decide to work in the techniques will turn away from them because there are no shows for their work to appear in and people are not able to understand their artistry, other than as a novelty. This show, at least, will provide some positive feedback for working in the techniques and may introduce other fiber artists to the techniques which I believe to be the most fluid of textile techniques. I have included in the show work such as that of Milca Erimiasova, Ros Hills, Lenka Suchanek and Jill Nordfors Clark, trailblazers of contemporary lace in the 20th century. Also included are Penny Nickels, Maggie Hensel-Brown, Nava Lubelski and Veronika Irvine, who have recently joined the lace art community. International artists, Pierre Fouche, Nicole Valsesia-Lair, Louise West, Wako Ono, Agnes Herczeg, Dorie Millerson, Jane Atkinson and US based, but Czech trained, Daniela Banatova. Among those artists who are teachers within the US lace community, are Laura Friesel, Lauran Sundin, and Dagmar Beckel-Machyckova. In addition, a life time dream of mine, to see Lieve Jergerâs Carriage of Lost Love displayed in a public venue is included in this show. Lieve will have to travel to New Jersey to erect the Carriage, and then return to take it down. It is going to be magical! The Hunterdon Art Museum has an extensive childrenâs art program. I canât wait for the young girls to see this carriage. Also, the museum is in negotiations with Choi + Shine to display the Urchins outside on the museum terrace which is in the center of the historic town of Clinton, New Jersey. One of them may even be suspended over the South Branch of the Raritan River. The museum is an historic mill building, so it is located next to a small waterfall that originally powered two mills. The museum believes that this spectacular outdoor display will draw attention to the exhibit from the public and the press, and increase the number of visitors. Jeri was kind enough to mention the fundraising effort to support this show. Because very few people in the US even know what bobbin and needle lace are, the group of people, corporations and foundations who feel strongly that these techniques should be explained to the public is very small. So, the museum has set up a fund, the Lace Fund to collect donations specifically for this show. https://hunterdonartmuseum.org/support-lace-fund/ There has already been tremendous support for this show from the lace community. Groups and individuals have been very generous. But, as Jeri says, more donations are needed to fully fund the
RE: [lace] #lacesupport2018
Elena, I already put it on the BLG facebook page. Do you have ways of reaching out to the FIT community? Devon Sent from Mail for Windows 10 From: Elena Kanagy-Loux Sent: Wednesday, February 14, 2018 8:25 AM To: Angharad Rixon Cc: lace@arachne.com Subject: Re: [lace] #lacesupport2018 That is wonderful Angharad! Bravo! Do you mind if I share this with the Brooklyn Lace Guild? We might have some followers interested. :) Best, Elena - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Identification of Dutch lace needed
Dear Lorelei, Thank you for all these links. Yes, those are what I would consider Pottenkant! The piece I am talking about has a flower pot on it. But the technique is totally weird. It may be Pottenkant because it has a flower pot on it, but I think there is some additional descriptor that would apply. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Identification of Dutch lace needed
Dear Lorelei, And I must voice my usual response that I am not at liberty to share better photos over the internet. I will send you some privately, for study purposes only, and not for publication. It is not a part lace. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Identification of Dutch lace needed
There is a puzzling piece in our collection. It is a flower basket. The cloth work is dense linen stitch. The background is entirely half stitch. I KNOW that someone has told me that this is some special, recognizable form of lace. But, I donât recall what they told me. The information, which I am supposed to be reviewing says it is Dutch/Netherlands about 1700. I would like to check this. Can anyone help? Here is the link. https://tinyurl.com/y86ojhpk Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] date for Bucks point
I saw the question. A year or two ago the Met had a Vigee LeBrun exhibit. She was the artist who painted the French aristocracy right up to the Revolution and even beyond, as she also fled. I thought it would be interesting to have a viewing of lace such as in the paintings. Most of it was Alencon, though. I do recall a piece that was bobbin lace and I recall thinking that it looked like a good candidate to be done in point ground, because it was largely mesh with only tiny motifs around the edge, but, it was actually Valenciennes. I went looking for the pictures, but I canât find them. However, the lace at that time was all this tiny motifs and edges. I have a lace collection that includes samples purchased over the years, dated by knowledgeable dealers and collectors. So, I just had a look through them. Incredibly most of the tiny motif lace that I have is Mechlin, although you donât know it unless you look at it with strong magnification. However I have found one piece that is point ground. A previous dealer has written Lille 1760-1790 on it. I suppose it is possible that it is Empire style. It has some suspicious looking leaves on it, sort of like laural.. Do you want me to share a photo, possibly on Ning? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Bucks Point-Hallowell, Maine
Not to argue with the general premise that Mrs. Lakeman was entitled to make point ground on a Ipswich pillow. But she must have had two pillows because Jeri acquired hers in Hallowell, Maine. Inquiring minds want to know more about this. It canât be a co-incidence. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Ipswich lace
Karen writes: Ipswich Massachusetts lace is NOT a point ground lace. From a distance it might look like it, but as it now has been pointed out, the grounds are Torchon variations and Kat stitch. The only time point ground was used in the 22 samples we have from 1790 is as a filling in a motif. You may want to see them in my book The Lace Samples From Ipswich, Massachusetts 1789-1790. It is available through some lace dealers as well as Amazon But, isnât the lace on the pillow at the Smithsonian, made by the 90 year old lacemaker in 1860, who had worked lace in the 1780s and 90s in Ipswich, MA a point ground lace? This conversation started out as a discussion of working point ground lace without pins, which this pillow appears to confirm. What are we looking at? Was the 90 year old lacemaker well into her dotage and essentially winging it, perhaps for a demonstration? I have been working the Running River and am planning to do it at the Bust Craftacular in Greenpoint, Brooklyn tomorrow. (Brooklyn Expo Center, 11-7.) The Brooklyn Lace Guild will have a booth. I was thinking of trying out the idea of working pinless in the point ground. I share Lynâs confusion about why there are two rows of pin holes that are not used. I, for one, think that the 90 year old lacemaker should have made the row that she used as her edge row a winkie pin row, and the row to the left of that her edge row. I think that the winkie pin (hope that is the right term for pinning to the side of the pair when returning to the edge) would help to align the entire row. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Bucks point - on Ipswich-style Pillow at Smithsonian
Nancy writes: I don't have any place to post something myself that would be easy to get to, and I don't think Devon does either. Actually, I am the editor of the IOLI facebook site, so I could post the photos on there. This is available to everyone who is on facebook, which is quite a lot of people, although I am not sure how many are arachnids. The photos in the NELG newsletter are accompanied by text written by Jeri, to which she holds copyright. Technically, copyright of the format is the NELGâs, so I couldnât reproduce the words in the format without permission from NELG. So, if Jeri wanted to send me the text, or another text, or if she wants me to snip out the photos, and accompany them with a statement such a: âMany thanks to an IOLI member in Maine for this photo of an original Ipswich pillow that is a family heirloom. The construction details are very interesting.â I could do that. I could, of course, name Jeri Ames, instead of saying âIOLI member in Maineâ. I never know whether people want their names used, or want to be anonymous. Is it desired that I post these on the International Organization of Laceâs facebook page? I donât think there is any problem with linking to the review of Karenâs book since it is on a public part of the website. I could do this on facebook if it is desired. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Rosewood
I am taking comfort from the following on the site mentioned by Liz: 3. Personal and household effect exemption It should also be noted that the EU Wildlife Trade Regulations contain less strict provisions for trade in specimens that are considered as personal and household effects. The carrying of an item, such as a musical instrument, in personal luggage can in this regard be subject to less strict provisions if it meets the definition of a personal and household effect8 . Also there is a tremendous amount of detail in the material about how musicians should be able to take Rosewood instruments into countries to play them as this is not considered to be âcommercial tradeâ. I think this is comparable to the bobbin situation where one takes ones bobbins to another country for a class. What is puzzling is why a Belgian bobbin maker is listing rosewood bobbins for sale, if this is now illegal. Is it possible that there are different species of Rosewood (as is detailed in the report), some endangered, some not? I think it is the rarest of bobbins that are actually made of ivory. The vast majority were made of cow bones as far as I know. Perhaps I am putting my head in the sand, but I am not panicking yet. Also, under threat, or possibly under protection, depending on your point of view, are palisander and bubinga, which are also still widely available. But, there are a number of qualifying latin names of the affected genuses, so maybe we need a botanist to analyze this directive. http://ec.europa.eu/environment/cites/pdf/cop17/implementation_of_cites_cop17 _listing_of_rosewood_clean.pdf Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Bucks point
Sorry for the duplicate posting, but I realize I sent this from the AOL account, not the Gmail account by mistake so many people will not have seen it. Thank you so much for this, Karen. The pictures of the lace, which you say was made in the 1860s, but on an earlier pattern and equipment do not present an whole hearted endorsement for the practice of not using pins in the ground. It is sort of sloppy looking. I took a quick look through the prickings on the Met website to see if there were any point ground without pin holes. I didnât find any, but I did find one that is Mechlin without pin holes. Of course, we knew they did Mechlin without pins, so that isnât a great surprise. The link is https://www.metmuseum.org/art/collection/search/218945?sortBy=Relevancef t=lace+patternoffset=0rpp=20pos=4 Again, one has to marvel at the expertise of the earlier lacemakers that they could take a pricking like this and make a lace like the one shown with the pattern. The only way you could make that lace on that pattern would be if you had a sample piece, which I suppose they had. Perhaps it was even the sample that is attached to the pattern. Such an interesting conversation⦠Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Trying to fill class in Manhattan Dec. 6
 From 6:30 to 9:30pm. Itâs a great opportunity to try your hand at lacemaking for the first time, or to refresh your memory! Sign up at the link: https://campscui.active.com/orgs/TextileArtsCenter Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Trying to fill class in Manhattan Dec. 6
Elena Kanagy-Loux will be teaching beginning and continuing bobbin lace at the Textile Arts Center in Manhattan on Dec. 6. If you know anyone who would like to start bobbin lace in the New York area, why not suggest this to them. There will be a reporter there who is writing about bobbin lace. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Sorry, forgot to trim lace tells posting
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[lace] Cattern Cakes
Many thanks to all for the advice on Cattern Cakes. I started out with a sheaf of recipes and a transcript of the Arachne comments, incorporating all of them into one attempt. You can see the results on the International Organization of Laceâs I facebook page, as I took photos all along the process. I used cake flour (to mitigate the protein problem- Leonard) and baking powder, using a formula on the internet, 3 1/3 teaspoons, and then add the flour to the gram requirement (to compensate for the self rising flour). I set my food scale for grams in order to avoid any confusion about whether we were talking about ounces as a weight, or fluid ounces as a measurement. I ground the almonds in the food processor, then added the currents which I had frozen on a plate in the freezer, so they could be ground, and not interfere with the cutting of the cookies. The currents didnât want to be ground, so I had to run the processor for quite a while resulting in very finely ground almonds and coarsely ground currents. I used the biggest egg I could get, a Jumbo. One thing that I have not seen discussed is the temperature of the butter. One recipe said that you should melt it, and let it cool. So, I tried this. My dough was overly sticky and moist when I finished adding the dry ingredients and I was afraid that it would be taking in a lot of flour during the rolling process. This is at odds with what most people in North America were experiencing, as the âtoo dryâ comment was a constant theme. In fact, if I were doing it again, I would have stuck the dough in the refrigerator at that point. The moistness of the dough proved to be a problem during the rolling out and the rolling up. Acting on the advice of Lin, in an effort to get a spiral. I put black current jam on one third, red current jelly on a third and a mixture of cinnamon and water on a third. After baking the black current jam was dark red, the red current jelly was pale orange, and the cinnamon one had no visible color variation. None of this produced a spiral in the end because the cookie just melted together in the oven. (Again, it would be interesting to see if this would happen if the dough had been cooled.) In retrospect, perhaps something dryer with a red color would have been better, but the cinnamon and water mixture didnât do it either. Perhaps a dry food coloring? But, that wouldnât be traditional. I was planning to take the advice to spread the almonds and the currents on the surface of the roll instead of making them part of the dough to enhance the spiral effect, but I decided against this because I was afraid that the ground almonds might be imperative to the texture of the cookie. I think that was probably a correct decision. I rolled the cookies up like a jelly roll, but I could see that the dough was too mushy. Many recipes called for making the slices ¾ of an inch wide, but one called for ½ inch and I went with the ½ inch recalling that several people said it took 30 minutes for them to bake. At ½ inch they took the requisite 10-12 minutes that several recipes say they will. The slicing was difficult because the rolls were so mushy. Finally I opened the window and let them have a good blast of New Jersey frigid air in an attempt to firm them up. It made a difference, although the cookies produced from this process were smaller and in some ways not as sumptuous as the ones that spread uncontrollably in the oven. The resultant cookie was not what we had been hoping for, spiralwise, but it was tasty, somewhat reminiscent of a Snickerdoodle, except for the caraway seeds. The caraway seeds are actually very good on it, something I had had some doubts about. I took a video of my husband tasting it and pronouncing it good and posted it on the International Organization of Laceâs facebook page. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Work the old lady out of the ditch-lace tell
Thank you Diana for reminding me about the striver pins. I will put some with my things. Another Arachne participant sent me privately the following message: I just found this online, https://hands-across-the-sea-samplers.com/lace-tells/ It seems possible it was to pick up thread used in a sewing or perhaps a thread gone astray? This is a very informative blog post, but it is hard to know where the information came from. It is claimed that children as young as six were expected to work for as much as 8 hours a day and by the age of fifteen girls were expected to spend at least 12 hours a day at their pillows. They were not allowed to talk and had infrequent breaks. In this article it is claimed that âNeedle pinâ was a tool and âstitch upon stitchâ sewing. âWork an old lady out of the ditchâ pull your sewing loop through.â Here it would be interesting to know where the tell originated. I have been mostly thinking about the tells as being used in Buckinghamshire, making a continuous lace. But, if one were doing a lot of sewings, it would have to be in the Honiton area. Thomas Wright in the Romance of the Lace Pillow claims that the âold lady out of the ditchâ tell is from Renhold. But Renhold is in Buckinghamshire on the River Ouse. So, I am not so sure about the concept that it is a sewing, since the piece that I am doing, Running River, alleged to refer to the River Ouse itself (Pamela Nottingham) has no sewings. Thomas Wright seems to be the authority on much of what is written. As in this article, he refers to a âglumâ. It seems that they said the rhyme. Then there was a period of silence, the glum, while they worked, and the first child to complete something (20 pins?) called out and was the winner. I am undecided about whether these lace schools were Dickensian work houses where children were forced in silence to work all day adhering to rigorous standards of quality, or whether they were more like kindergartens where they were inspired with rhymes and competitions while their harried elders tried to get something reasonably salable out of them. I have to say that I personally have never been very adept at turning small children in to models of industrial production. As I recall, my own kindergarten experience was that we sang and played games and listened to stories and colored pictures with crayons, with the goal of each of us being able to write our names at the end of a year. Devon Sent from Mail for Windows 10 From: Diana Smith Sent: Tuesday, November 21, 2017 6:15 PM To: DevonThein Cc: Arachne Subject: Re: [lace] Work the old lady out of the ditch-lace tell How they kept count? - I think this might be where the âStriverâ or âKing pinâ was used. Placing a decorated pin on the footside where they began a repeat, on completing that pattern or number of rows/pins they would put in another âstriverâ thereby âstrivingâ to complete the pattern and so on. They would be able to see at a glance how much work they had accomplished. I hope that is understandable! Iâm presuming that you know about the decorated pins used by the East Midlands Lace makers? Diana in Northamptonshire > On 21 Nov 2017, at 20:10, DevonThein <devonth...@gmail.com> wrote: > > What does it mean to work the old lady out of the ditch? I seem to recall that > it had something to do with working the worker through the edge. But is that > all? In Running River that would mean a catch pin, two linen, the edge stitch > and bac through the two linen. > Or does it mean work the entire little area of tulle ground until you canât > go any farther. > > They seemed to count things in units of 20 pins. Does anyone know how they > kept the pins for reference? Did they count them onto a pin cushion? If they > removed them in groups of twenty, that would seem to slow you down a bit since > you have to count them as you remove them. In the tulle area you go through > twenty pretty fast. > > Also, with the counting tells, it would seem that a systemic rhythm would be > difficult since the pattern determines how often you place a pin. In the tulle > area you would place them much faster than in the cloth stitch river area. > > Also, do you think these children did it really fast, or really slow? I can > see adults could do it fast. (My wrists are hurting from the practice session > I just had.) But not so sure about children, especially ones who are > memorizing and reciting rhymes. I am going to have someone read them to me > while I work. No way can I recite a long rhyme and also do the pattern. > > Devon > > > Sent from Mail for Windows 10 > > - > To unsubscribe send email to majord...@arachne.com containing the line: > unsubscribe lace y...@address.here. For help, write to > arachne.modera...@gmail.com. Photo site: > http://www.flickr.com/photos/lacemaker/sets/ - To unsubscri
[lace] Work the old lady out of the ditch-lace tell
What does it mean to work the old lady out of the ditch? I seem to recall that it had something to do with working the worker through the edge. But is that all? In Running River that would mean a catch pin, two linen, the edge stitch and bac through the two linen. Or does it mean work the entire little area of tulle ground until you canât go any farther. They seemed to count things in units of 20 pins. Does anyone know how they kept the pins for reference? Did they count them onto a pin cushion? If they removed them in groups of twenty, that would seem to slow you down a bit since you have to count them as you remove them. In the tulle area you go through twenty pretty fast. Also, with the counting tells, it would seem that a systemic rhythm would be difficult since the pattern determines how often you place a pin. In the tulle area you would place them much faster than in the cloth stitch river area. Also, do you think these children did it really fast, or really slow? I can see adults could do it fast. (My wrists are hurting from the practice session I just had.) But not so sure about children, especially ones who are memorizing and reciting rhymes. I am going to have someone read them to me while I work. No way can I recite a long rhyme and also do the pattern. Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Fwd: Life in Olney -lace to make while saying tells
I really like these lace tells. From what I am reading, it would appear that the beginning of the 19th century was a good era for lace tells. The comment about men making lace as more profitable than agricultural labor is startling. But, the beginning of the 19th century was reputedly very good for English lace because there were embargoes on French lace due to the Napoleonic Wars. This period is also a period that featured lace with a lot of point ground and very small motifs, so you could conceivably put in pins at quite a clip, as the lace tells imply. (I have been taking a binche class, and I barely have to refill my pin cup once in a day, since the pins go in so infrequently, so slow is the work.) Supposing that I want to do a bit of performance art at the Brooklyn Lace Guildâs St. Catherineâs Day party. Supposing I want to make a historically correct pattern while chanting a tell to see if I can make lace as fast as an early 19th century child. I would need a pattern that I could work quickly, and learn quickly, something that a child in Olney might make. Suggestions? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] St. Catherine's Day-Cattern Cakes
The Brooklyn Lace Guild would like to have a riotous debauch on St. Catherineâs Day and have looked to me for guidance about how to plan it. Has anyone ever celebrated St. Catherineâs Day with their lace group and what advice would you offer? I have been researching recipes for Cattern Cakes. One thing that leaps out at me is that none of them are accompanied with a photo of the finished product. In my cooking life I have found this to be a red flag signifying that it is quite likely that the recipe has never been kitchen tested, or never successfully kitchen tested. Has anyone ever successfully made Cattern cakes? If so how did you do it? The recipes all seem to have some similarities. Many seem to start with bread dough and then add a few ingredients, always including caraway seeds, often butter, an egg. Some include cinnamon, almonds and currents. Other recipes start from scratch and have you adding yeast to flour, but donât seem to allow for any rising time. This seems odd to me. Sometimes the âcakesâ are formed into a loaf, or some other mound. In some recipes they are rolled out flat, then curled up in a spiral roll and cut crosswise like cinnamon rolls. This sounds prettier, but possibly less authentic. One thought that occurs to me is that there must be some way to start with a premade dough and then add the optional ingredients. Call me lazy. Suggestions? Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Joining ends of a crown
I think of invisible joins as being most necessary when something is going to be viewed from both sides like a handkerchief. But, wouldnât the knots be on the inside of a crown, where the hair is? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Joining ends of a crown
Is there some reason why you wouldnât just finish it normally and sew it together with a needle? Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
FW: [lace] Samplers Exhibition at the Fitzwilliam Museum Cambridge
Here is the original email. Devon Sent from Mail for Windows 10 From: Jeri Ames Sent: Wednesday, October 4, 2017 2:16 PM To: lace@arachne.com Cc: devonth...@gmail.com; suebabbs...@gmail.com Subject: Re: [lace] Samplers Exhibition at the Fitzwilliam Museum Cambridge (Someone please acknowledge this message, so interested people can look for it in today's archive.) Thank you, Louise Bailey.  Our needlework history is important.  Stitched samplers - documents - also help with genealogy research about our ancestors. In the U.S., the Sampler Archive Project is currently attempting to document all American samplers, which is to be a great free data base available to all.  There is a 20-page pdf describing this at: https://www.neh.gov/files/grants/university_of_delaware_the_sampler_archive_p roject.pdf and, this is also interesting: https://www1.udel.edu/researchmagazine/issue/vol3_no1_humanities/stitches_in_ time.html  It is possible the U.K.'s samplers are also being documented by researchers.  The historic samplers held in the U.K.'s museums have received a great deal of attention in my library, with comprehensive references sent to Arachne in August 2014. Some remarkable samplers are executed in needle lace.  If interested, please go to our archive for references: https://www.mail-archive.com/lace@arachne.com/msg45965.html Carol Humphrey, the Honorary Keeper of Textiles at The Fitzwilliam, is a recognized expert on "Quaker School Girl Samplers from Ackworth"  (no lace).  You can G**gl* search that title to learn about her 2006 232-page hardback published by Needleprint, ISBN 978-0-9552086-1-4.  You'll not find needle lace samplers.  You will find marking and literacy samplers - alphabets, lists of family members, texts inspired by religion, maps, and their famous medallion designs that could be reproduced today into wonderful cross stitched ornaments. You can also access Amazon to see what is currently available by Carol Humphrey, as recommended by Louise. Jeri Ames in Maine USA Lace and Embroidery Resource Center - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] FW: Quaker samplers from Ackworth, Doing Research atMuseum Sites
If Jeri would like to send her emails to me via my gmail address with the notation that I should forward them to Arachne, I would be happy to do this. Devon Sent from Mail for Windows 10 From: N.A. Neff Sent: Wednesday, October 11, 2017 2:10 AM To: lace@arachne.com; jeria...@aol.com Subject: Re: [lace] FW: Quaker samplers from Ackworth, Doing Research atMuseum Sites Jeri, I am sorry to hear that your response to the email situation is to cut back on your useful and educational postings. I had hoped you might move to another email service (such as gmail--free and available over the web so wouldn't require a change of ISPs). Meanwhile, I subscribed to the digest form in addition to the individual posts simply so I would see your posts even if a little late. Please consider continuing to post with some frequency, and maybe consider a different email provider. Thanks, Nancy Nancy A. Neff Connecticut, USA From: Jeri Ames > Sent: Monday, October 9, 2017 12:33 PM > To: ann.humphr...@talktalk.net; lace@arachne.com > Subject: Quaker samplers from Ackworth, Doing Research at Museum Sites > ...As I cut back on correspondence to Arachne, because many are not receiving my mails,... - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] FW: Quaker samplers from Ackworth, Doing Research at Museum Sites
Thanks, Jeri. Sent from Mail for Windows 10 From: Jeri Ames Sent: Monday, October 9, 2017 12:33 PM To: ann.humphr...@talktalk.net; lace@arachne.com Subject: Quaker samplers from Ackworth, Doing Research at Museum Sites Thank you, Ann.  I had asked for someone to respond to my memo dated October 4th, as many do not know I've written to Arachne unless someone using another Internet Service Provider writes an acknowledgement and some additional information. You can also check the sampler collection at the Ashmolean Museum in Oxford, though it is probably in storage most of the time.  At the following address you will see a needle lace sampler from the Feller Collection: http://www.hali.com/news/feller-collection-endowed-ashmolean/ And at the following you can find a way to make a contact there who can probably lead you to the database for all samplers (or laces) at The Ashmolean.  For those who like something quite rare, this museum has a collection of Egyptian samplers and embroideries, which might inspire unique lace designs: http://www.ashmolean.org/collections-online Devon, You have shared with us The Metropolitan's huge effort to put their entire collection up where people can see whatever they wish via their personal computers.  Please note what will be launched November 1, 2017, at The Ashmolean. Those who rarely do research:  As I cut back on correspondence to Arachne, because many are not receiving my mails, I am trying to teach-by-example how to do research on subjects that may be of special interest to just a few Arachne subscribers. I hope all of you will understand how to go about finding useful information.  Look at the addresses provided above, and then you can adapt to a search of the world's museums and collections to find out about what might be nearer to your interest and location. Jeri Ames in Maine USA Lace and Embroidery Resource Center In a message from Ann in the UK dated 10/9/2017 8:57:18 AM Eastern Standard Time: I am interested in samplers and did not know about the samplers connection at Ackworth Quaker school. Thank you for this information as I live quite near. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] RE: Flax and Lace Museum in Kortrijk
I ran Kant through the collection search and this was the result http://erfgoedinzicht.be/collecties/?q=kant=gallery=horizontal It says there are 1342 pieces of lace, although this may be in different museums. I donât recall that the lace at the Flax museum was all that exceptional, though. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace Family Tree
Jean Reardon wrote: I wonder if, what with modern technology, that chart has been translated to electronic format or published in some form so it is available to those who are unable to drop into the Linnenmuseum for a visit? I'm sure a lot of work went into creating it. It would be such a shame if it was lost. It would be nice if the Lace Family Tree was in digital form, but from what I am hearing it sounds more likely that it isnât even at the Flax Museum in physical form anymore. However, Lyn Bailey has unearthed a photo of it that she took in 2009 and I just posted it to the IOLI Facebook page https://www.facebook.com/iolilace/photos/a.1410654602528237.1073741828.140703 1982890499/1946159612311064/?type=3 Devon Sent from Mail for Windows 10 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
