Winterthur has some very nice pieces of lace in its collection because one of
the members of the Dupont family was a member of the Needle and Bobbin Club
and her collection has ended up at Winterthur. Pieces from this collection
were shown when the members of the IOLI visited Winterthur during the
Harrisburg IOLI convention. However, I don’t think they are all
photographed. (I wrote a little about the collection when I wrote the article
about their Downton Abbey exhibit for the IOLI.) One bit of a problem for
Winterthur is that the lace in this collection is not American made and
Winterthur is supposed to be a museum about American Decorative Arts. However,
while there for the Downton Abbey exhibit I took a tour and the guide asked us
if we were more interested in American Decorative Arts or in the lives of
people like the Duponts during the Gilded Age, and the Gilded Age won the vote
at least in my tour group. So, I am hoping that if Winterthur starts to move
toward the idea that the collectors like the Duponts were very interesting
people, the next step might be photographing and displaying the lace.
I think the piece that Arlene directed us to is not the victim of mending. The
diamond like braid structure is characteristic of a kind of lace called
Valenciennes de Gand in which an enterprising nun in Ghent developed a lace in
which orphans of varying skill levels could make motifs that could be
assembled into these pieces with this braided mesh background. There is a
handkerchief made this way at the Metropolitan Museum

Sent from Mail for Windows 10

From: Arlene Cohen
Sent: Sunday, October 16, 2016 1:30 PM
To: Arachne Lace
Subject: [lace] Ithaca Lace and Winterthur Needlework Symposium

Dear all,
Here's my little report from my first Ithaca Lace Day/Weekend experience:
B first of all, I had a wonderful time! B I can never complain when there is
in-person shopping for lace books and threads, raffles for lace-related
and the opportunity to be with other people who are passionate about what you
are passionate about, who 'get' it. B For that, I am grateful. B I got to
reconnect with my first lace teacher - I lost touch with her when I moved to
NJ about 18 years ago and it was SO good to see her and let her know that she
had started me on a great path of lace learning.
I loved Allie Marguccio's talk Saturday midday about the OIDFA 2016 event in
Slovenia - she is a wealth of knowledge about Slovenia and its history and
lace background and so for this major lace event to take place in her
country of origin, she brought that much more enjoyment and enthusiasm to the
table. B For every report and piece shared in every place around the web
the OIDFA events this past summer, it adds to the greater enjoyment for those
of us unable to go. B What an amazing event it must have been - in
I wished I could have been there.
Saturday evening, Carolyn Wetzel spoke about a Spanish needlelace of silk and
gold. B Here is the easiest way to get an image in many people's mind: B can
you picture the book "75x Lace", the book from 2000 celebrating the 75th
anniversary of the Rijksmuseum's lace collection (?not sure if I have the
wording correct there) in Amsterdam? B The golden lace on the cover is this
type of lace, called frisado, as a few other Arachnids have mentioned.
B Carolyn has been learning and studying about this lace. B Fascinating
connections of history and lace here.
As for classes, I did a somewhat unusual thing, which was take one class on
Saturday/Sunday (total of 9 hours) and a different class on Monday (6 hours).
B This was absolutely perfect for me - I know my style of learning and such
and was glad for the opportunity for exposure to two different things that I
could then explore further on my own (which I will!) B I had emailed the
teachers before signing up, asking if this would be okay, as I had gotten the
sense that most people spent the entire 15 hours (if they could indeed stay
for Monday, which not everyone can) in one class.
Saturday and Sunday I was with Allie Marguccio learning Idrija. B While the
focus of this class was intended to get folks thinking about changing colors
in Idrija lace, some of us who had never done Idrija before started with a
practice sampler of corners. B I moved on to small motif and colored thread
and enjoyed immensely learning all that Allie offered and her teaching style.
B In addition, I learned about the website where
you can purchase individual patterns after looking at the nearly 1500 (!)
are offered. B My order is already on its way to me.
On Monday, I joined the Aemilia Ars needlelace class. B I do a lot of
needlework in my life and have only dabble a little into the needle laces, so
was interested to learn more about this. B Carolyn Wetzel was also a fabulous
teacher and I enjoyed immensely the time with needle in hand. B Vickie Green
already wrote a great report here on the class. B Although my piece is not
finished, it is something that I know will be soon and will likely be
by more needle lace explorations.
Just a couple of days after this wonderful lace weekend, I journeyed down to
Winterthur in Delaware for a fabulous needlework symposium. B A few pieces of
related lace content to report here. B First of all, I got to meet Jeri Ames
in person, after reading so many of her helpful words here on Arachne for so
long. B I very much admired the lace she was wearing around her neck and
dangling from her ears! B I had on my needlework necklace, showcasing the
beauvais stitch, from France. B Secondly, one of my afternoon workshops was
more or less a "show and tell" session of items from the Winterthur
collections of needlework, particularly focused on "luxury", with some great
discussion on what that term meant. B (Jeri, did you attend this workshop?)
B One of the pieces they had out was a beautiful bobbin and needlelace
B Winterthur does not have much of these laces in their collections (you can
go to their collections online and do a search), although here is the piece I

The majority was bobbin lace, although the circular medallions were clearly
needle lace. B The large open areas with a very loose looking mesh - my guess
is that those are threads from some early conservation work from some years
ago. B Those three areas are so odd looking, I'm guessing the mesh or the
ground that was originally there just simply gone at some point and some sort
of stabilizing something was created. B The cataloguer in charge of this
workshop and showing these items did know know much about this piece.
Overall, so much in this last week, over these two trips!
Arlene C. in NJ

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