[lace] New Binche Video
Hi Fellow Arachnids and especially Binche fans, In the course of an Internet search for photos of Binche lace prompted by the recent mention of a candle pattern, I came across a photo from the cover of a new video/DVD from Hensel Productions - Binche Lace with Sally Schoenberg. I don't know her and haven't seen the video, but the cover picture looks interesting. Christine J (Sydney, Oz) - 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] Binche Candle
Hi Sherry, Several years ago, I saw the picture of this little candle, drafted a pattern from the really tiny picture and worked it for a Christmas card exchange (GumLace, not Arachne). When I was in Brugge in 2008, and was telling the story of how much trouble this tiny little project involved, I guess I shouldn't have been surprised to find out that it was Anne-Marie Verbeke-Billiet's pattern - she generously gave me the pattern sheet with 2 slightly different versions of the candle (and my flame was a bolletje, so it represents a third version since Annemie had worked it as a tiny shape). I don't think I have seen it published subsequently (and I subscribe to "Kant" and the Kantcentrum's pattern folders that they publish every 2 years to coincide with the OIDFA Congress, so I don't miss a lot of Binche patterns). Christine J (in Sydney, Australia) - 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] Mathematics and Lace Grounds
Dear Spiders, I haven't posted in such a long time that I have had to haul out the e-mail I received when I re-joined Arache in 2005 to work out the appropriate e-mail address for my post. I'm just writing to say how much I'm enjoying the discussion and links on this topic - I find classification systems that help organise information (or grounds) into logical groups really useful to help understand (and remember) things, but haven't done anything more complex than basic arithmetic since leaving secondary school (and sadly, didn't do the highest level of maths, so missed out on group theory) and a mathematical approach is outside of my scope of expertise. Like Nancy, I'm thrilled that someone with the requisite intellectual skills and education is taking it on. I have roughly drafted my own classification of roseground variations, which is pretty simplistic in comparison. I'm still trying to work out how to fit diagonal honeycomb (which is structurally a roseground) into this system. One of the grounds Veronika has worked in third bookmark sample in her Photostream is the same structure as diagonal honeycomb with a direction reversal after every row - I'm not sure I like the appearance, but I'm fascinated by the construction. One of the properties that makes some of these grounds more aethetically pleasing than others is not what the threads are doing, but the negative spaces resulting from the thread movements. Other ways of creating interesting effects with the negative space in Torchon lace is the use of what I call compound grounds, when 2 different, but familiar, pattern elements are put together to form a new ground, which I first saw done in Church Lace Today (Margaret Jeans, 1988, ?self-published). An early attempt to classify Torchon lace grounds was developed by M.J. Geers-Vermeulen (De techniek van de kloskant - Stropkant deel II) and published by the Kantcentrum, Brugge in 1993 - in 4 languages, including English, os linguistically accessible to a large audience. Her system is based on the number or pairs used for each pattern unit and I'm not sure that it is compatible with a mathematical approach - but some of the accompanying patterns demonstrating the use of the grounds as part of a complete pattern are just gorgeous. Have probably rambled sufficiently at this stage. Best Wishes, Christine Johnson (Sydney, Australia) - 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] Torchon Pattern in Lace, Favourite Designers, Process or Project
Hello Spiders, Like Jill, I mostly lurk, but having just read 4 months of Arachne digests I thought I should make a couple of comments. (As Anna mentioned I have been overseas and don't access anything electronically whilst away, but I don't suspend my Arachne membership in case I miss something of interest). The trip itself had almost no textile component - I did visit the Great Tapestry of Scotland, which was fabulous (although the parking ticket I've just received for enjoying it for too long isn't!) and, as you do when on the other side of the world, I met Marie Laurie from just up the road here in Oz doing the same thing. I also called in to the Lace Guild and met Jacquie Tinch who mentioned that Jill was working the pattern published in Lace. I have just gone through all of the lacemaking magazines that arrived in my absence and Jill, I hope you have realised that you need 12 more pairs than mentioned in the list of requirements. I prepared and sent the pattern and all its info while I was travelling in Denmark last year - I had no access to photocopying and therefore no record of what had been sent, but thought I may have not counted the pairs correctly; the correct number of pairs was provided when I sent the story of the pattern to Susan later, but didn't get transferred onto the original paperwork. I maintain a separate file of collected gee whiz - I'd like to do (or fiddle with) that some day patterns and my favourite designers of Torchon lace are Jane Atkinson, Anne-Marie Clegg and Hubert Van Hoorebeke. Anne-Marie Verbeke's Binche patterns are another great favourite and I love Ulrike Voelker's books/patterns/analysis. I'm totally opposed to ranking designers, though, because everyone is looking for something different. All of us will tend to neglect those designers whose patterns are for a lace style we don't personally have any interest in. Although after more than 30 years of lacemaking I have finally begun to see some merit in making samples, I really prefer to work on proper projects. But, my interest is primarily in the process, testing and trying new techniques or design ideas, and I seldom have an actual purpose for the finished project. Pieces for competitions and proficiency assessments are the ONLY pieces that have their ends properly sewn in and are appropriately mounted! Christine J Date: Sat, 3 May 2014 18:40:34 +0100 From: Jill Harward jill.harw...@btinternet.com Subject: [lace] Lace Guild Magazine - Christine Johnson Dear Spiders, My Lace Guild magazine arrived yesterday and I was over the moon to see the pattern and working diagram of Christine Johnson's Medieval Garden and for which Christine was awarded the John Bull Trophy for 'lace by a lacemaker who is not a teacher'. I just had to write to thank Christine, who I think is a member of Arachne - she will not know me, I am generally a 'Lurker' but I felt compelled to write to Christine for being so generous in submitting this pattern to the magazine and the time spent originally working out a coloured diagram of the technical drawing. I first saw the photo of the finished lace on the back of issue Number 151 and just 'drooled' over it and wished it was a pattern available to us. Well my wish came true as here it is, looking absolutely beautiful again in the current issue. I have been floundering a bit for the past five or six months due to some sad family circumstances and doing a little bits on pieces already on the go but none of them seem to pull me in to get enthusiastic again. All I keep saying to my friends is that I need 'inspiring' but had no idea what to do, that is until I opened the Lace Magazine yesterday and Woo Hoo! I cannot possibly do any justice to your amazing piece Christine but you have spurred me on and at last I have found my 'get-up-and-go' and diving into my cupboard for a spare pillow, bobbins and thread!! I cannot wait to get started J I guess this is also giving advance warning to Jacquie Tinch, our lace tutor just what I will be turning up with in class - she is probably turning a nice shade of puce at the thought - only joking Jacquie, she relishes a challenge! That's it and all that is left is to say once again a huge thanks to Christine for unknowingly lifting my spirits. Jill - 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] The Book for Jenny B
Hi Jenny, I seldom post to Arachne - partly because I get the digest, can't just press Reply to post and my short-term memory is getting very close to non-existent so I can't remember the e-mail address and have to go look it up each time. That said, I still have the visual memory to recognise the origin of most lace patterns - Jenny B the book you need is Spitze von Einst in Kloppelbriefen von Heute (with apologies to our German members for the missing umlaut) by Christine Mirecki, published in 2011. Annette, I'm so sorry to hear about Kerry Taylor. Christine Johnson in Sydney. - 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] Guterman silk in ivory
Hi Sue, Guterman silk comes in an ivory that works up beautifully - I think it is #802, but wouldn't swear to it since I am looking at it under artificial light in the wee small hours, and we don't get the full colour range in Oz so there may be an even better choice. I made a stunning mat using an ivory colour some years ago, but sadly it was my demonstration piece and I set an all-time record for the number of mistakes in one piece of lace. Best Wishes, Christine Johnson in a wet Sydney, Australia - 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] Crochet Bobbin Holders
Hello Fellow Spiders, Akiko from Japan gave me my first bobbin holders - she cuts old pantyhose/tights/stockings(or whatever else you may call them) into 6mm wide strips and uses the yarn created in this manner. Her tension is a little looser than mine, so the ones she has given me are better than the ones I made for myself and my earliest ones were a little lumpy before I got better at cutting the stockings into a uniform width strip. They are perfect for Belgian style bobbins (and a great way to use up the coloured stockings that were trendy in the seventies when I was several sizes smaller than now) As an added nicety, after the foundation chain, the trebles/ double crochet / half trebles (whatever long stitch you are using) are done into the BACK of the foundation chain so the strips look the same from both sides and don't have a front and back. Commercial knitting nylon is 20mm wide, sheds from its cut edges and is not as elastic. Christine J (Sydney, Australia) - 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://community.webshots.com/user/arachne2003/albums/most-recent
[lace] Six thread crossing
Dear Cheryl, Lora and Fellow Spiders, I offer the following alternative instructions for a 6-thread crossing - in words for those who are not diagram-oriented, and not requiring you to number the bobbin positions, since that explanation is available elsewhere and I don't find it particularly helpful either. I am normally someone who prefers diagrams, but I also find the comings and goings in a 6-pair crossing hard to follow. I find it easiest to describe a new operation in terms I already use and understand. There a couple of basic rules and you already know these. 1. Cross is left bobbin over right bobbin, twist is right over left. 2. Cross occurs BETWEEN 2 adjacent pairs (CROSS with your friend, so leave for a new partnership!), twist occurs WITHIN a pair. (A concept courtesy of Doris Southard's book). We start with the 3 pairs coming into the star and these should each have the desired number of twists already in place. Put crosses between the incoming pairs (ie between 1st and 2nd and also between 2nd and third pairs). Twist the middle pair. Put crosses between each of the pairs (ie between 1st and 2nd and also between 2nd and third pairs). Twist the outside pairs (ie 1st and 3rd pairs) and put PIN in the middle of the middle pair. Put crosses between the incoming pairs (ie between 1st and 2nd and also between 2nd and third pairs). Twist the middle pair. Put crosses between each of the pairs (ie between 1st and 2nd and also between 2nd and third pairs). Twist all pairs with the desired number of twists. SUMMARY of the sequence (starting to look easier now with less words): Crosses Twist middle Crosses Twist outsides and pin Crosses Twist middle Crosses Hope this helps, Christine Johnson, along-time lurker (Sydney, Australia) - 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://community.webshots.com/user/arachne2003/albums/most-recent
[lace] Lacemaking
Dear Spiders, I'm a lacemaker (one word) and although I make lace, I also play lace. This is an activity that involves 2 people (possibly 3) who spend an afternoon or evening talking about lace, possibly working on a pattern draft or altering a pattern, looking at books (either browsing new ones or checking a few specific references), making additions to the gunna (do someday)list, gossiping about other people's lace or the people themselves, possibly looking at lace pillow and even working through a tricky bit BUT no serious lacemaking. (And my spell check has just objected to lacemaker, lacemaking gunna and spellcheck - I yielded only to the last). Christine Johnson (Sydney, Australia) - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachnemodera...@yahoo.com
[lace] Torchon vocabulary
Hi Martina, There are a few names for this fan - it depends a little on where in the world you are. In Australia, we call it a fishtail fan, but lacemakers who learned to make lace in the UK generally have no idea what we mean by that term - they are more likely to call it a fir tree fan or Spanish fan. It is also called an open fan (translation from the Dutch open waaier), twisted Torchon fan or simply cloth stitch and twist fan. What I would really like to know is what other English-speaking lacemakers call this fan (with the 2 rows of pinholes down the middle and usually worked in double stitch/cloth-stitch-and-twist/whole stitch - depending on what the local term for the stitch made by CROSS-TWIST-CROSS-TWIST) if it doesn't have the central spine or tree trunk. It is called the equivalent of closed fan in some languages. I'm not sure about the second pattern feature you mention (maybe you could e-mail me an illustration). If you mean the same sort of fan, but much longer, it is called a feather fan in the UK and an extended fan in Australia! Australia suffers from a degree of founder effect with our lacemaking terminology, because in the 1970's we had only a handful of teachers, most of whom had learned bobbin lacemaking in the UK, and the whole country ended up using terminology that may not have been in widespread use in the UK - just in the areas or by the teachers our few founders encountered. These terms became entrenched in our Proficiency Assessment scheme and are in general use here. Christine Johnson (Sydney, Australia) [EMAIL PROTECTED] I enjoy your discussion about Torchon. I started learing bobbin lace mainly doing tape lace. I am working on a roller pillow and I have done some Torchon by now. Now I am looking for some vocabulary: Is there an own expression for a fan if you go all the way down through the center to a pin picking up each thread on the way down and leaving them back to the headside. (in German we call it Mittelrippe central rib). How do you call the ornament which is a fan which winds its way further out of the footside. If you need an illustration I can send you them. Thank you for your help. Martina in Germany - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Best Bit of Lacemaking
Hi Spiders, In the course of the discussion of what we like least about bobbin lacemaking (add me to the tally group), someone said that it was agreed that we all like the moving of the bobbins best. Looks like I might be the odd one out here - I love the drafting of the pricking (I used to say have graph paper, will travel) and drafting of working diagrams best of all. I quite enjoy sewing the lace onto the fabric - I'm a devotee of pin stitch, but will use any of the stitches quite happily. Putting thread neatly into a clean bit of fabric is almost as much fun as drawing lines on a clean bit of paper! Christine J [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Fw: Book or CD?
Christine J [EMAIL PROTECTED] - Original Message - From: Christine Johnson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, October 25, 2007 4:02 PM Subject: Book or CD? Hi Carole, I will buy a book every time. I look at a lot more patterns than I use and it's so much easier to just go and get the book off the shelf. I know postage is making CD's much more attractive, but I suspect most people (me included) will forget that the cost of printing is minor compared to the creative effort of designing the patterns and working the samples and be relatively mean about what they will pay for a CD. Christine Johnson (Sydney, Australia) [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Antique Toender Pattern
Hi Spiders, Just a couple of follow-up notes. 1. My apologies to Barbara Joyce for mistaking her surname for her first name. 2. As Sally noted, a more accessible source for the filling is Karen Trend Nissen's Knipling 3 (one of my all-time favourite books) 3. There is picture of the (slightly wider version of the) lace in Emil Hannover's Tonderske Kniplinger (bottom of page 89 - I have the 1989 re-print). This is available through the Digital Archives of Lace - either the site or one of the CD's. Christine J [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Antique Toender Pattern
Hello Spiders, I've been lured out of lurkdom by the discussion of the filling for David's antique Toender pattern. The filling is known as Lopper (which translates as fleas) in Toender lace, and is the same as the Beveren filling which is translated as lice. It is, as ?Alice (guilty of skimming the Lace-Digest in a very cursory manner and deleting before realising I've missed something) mentioned, a very close relative of the small snowflake of the Binche/Flanders/Paris family of laces. This filling is seen in the centre of a variety of large flowers in the Toender patterns of the 1800-1850's. (David, it is also used in the half flowers on the headside of this pattern.) The pattern itself is Ordensbaandet (Ribbon of an order). There is a good photo of a slightly wider version of the design in Kniplebrevet 53 in an article about Astrid Hansen, the lacemaker who made the handerkerchief for Princess Mary for her wedding. This pattern was her 1966 (?final) examination piece for qualification as a lace teacher at the Copenhagen School for Drawing and Applied Arts. The examination required that the candidate construct a working diagram, pricking and sample from an old piece of lace in a 4-week period working from 9-5 5 days a week. Both Astrid's final examination and ?Esther Winkel's were on display at the Toender Lace Festival in 2001, displayed in such a way that my photos are 90% blur and 10% useful. However, this variation of loppern was worked entirely in CTCT ( the blur for the centre of the flower is uniformly red!). I asked Astrid whether her working diagram was available for sale - the answer was for about $US75, with an explanation of the work involved. (Since I do battle with reconstruction of old patterns myself, I know exactly how much work is involved and thought it was a very reasonable price - but the pattern is not high on the list of ones I am considering for the this or the next 3 lifetimes, so didn't push for her to sell it to me.) David, please e-mail me privately if you would like me to scan the photo from Kniplebrevet No 53 - it is a good close-up of the straight piece of the slightly wider version. I also have a couple of photos I took in 1989 at the first Toender Lace Festival, the one more softly focussed of the corner and a more sharply focussed one of a straight section. I believe these two examples were from different museums - the Toender Museum, the Flensborg Museum and the Museum of Decorative Arts in Copenhagen produced a magnificent combined display for the debut Festival. There was at least a metre of the straight piece. Diagrams of the various possible methods of working loppern are to be found in the superb article by Glenn Jungersten Toender and Modern Tyl in Kniplebrevet 39 which compares modern Toender working methods with the methods seen in the older laces. If there is a wider interest, I am happy to send the scans to the various items to Joyce to post where others may access them. Christine J (Sydney, Australia - and yes, I am hoping to get back to Toender again this year, but my current project is finalising a place to stay in Brugge for Year 3 of the Binche course and deciding what to do with the 4 week gap in the middle. I am hoping to stay on in Toender for 1 week of it, as I did in 2001, making sketches of a couple of patterns I am trying to reconstruct). [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Four Seasons and Calling UK Lacemakers
Dear Jean, The most recent Four Seasons I have seen was in La Dentelle, issues 89 - 92. By the way, I am searching for someone who is going to the NEC (?is it in early September) to collect an order from Richard Gravestock. At least some of the UK lacemakers on Arachne have met me and might feel that the know me well enough to help. Please e-mail me privately. Christine J - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Is Anne Drew out there
Hi everyone, Sorry to send this to the general list, but I haven't had an answer to the e-mail I sent to the address I have. Anne, could you contact me privately please at [EMAIL PROTECTED] Christine Johnson (Sydney, Australia) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace Drafting on Computer
Hi everyone, Now that this subject is almost exhausted, can I say that I still use a generic CAD program - EasyCad. I started using a DOS version of it well before there were specific programs for lacemakers. I bought the windows version 5 or 6 years ago for about the same price as Lace Designer Gold (or whatever incarnation was in use then). It is probably harder to learn to use because it isn't lace specific, but then no one has made the decisions for me as to how I will do particular lace-related tasks, so there is a lot more flexibility. I also use it to draw house plans, filet crochet patterns and whatever else I fancy. I used to rough out what I wanted to do onto graph paper first, but then I also used to draft text roughly on paper first before using a word processing program to type up the almost-final version. Now I work directly on the computer unless I hit an insoluble problem - solve on paper, then back to the computer. Christine Johnson (Sydney, Australia) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Prince Christian
Dear Avril, Thanks for posting about the Prince's christening gown - we got little bits about the christening live during the tennis last night, but the first standard news was this evening. Between my mother and my lace buddy we videotaped 4 of the 5 channels' evening news broadcast to pause and study the lace on a big screen TV later. (I think all of them were much the same, since I saw all but 1 anyway). My Mum, bless her, kept the colour photo on from the front page of the Sunday newspaper (didn't think of that). If you get a chance to see the lace, I would love to hear more details. (I went to see the wedding dresses when I was in Copenhagen in 2004, and was quite disappointed that the handkerchief had been artily displayed and I couldn't really get a good look at the corner - the photo on the cover of Kniplebrevet gave a better idea). Christine Johnson (was in Perth, but now back east in Sydney, Australia) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[no subject]
Dear Kathy, The method Pat read taught us in class doesn't involve working multiple times to a pivot pin. Once you have worked down the braid as far as the pivot pin, work the pivot pin as a blind stitch (= do NOT work edge stitch, just pin the workers) and the work to the outside edge, work the edge stitch and work back through all of the passives. LEAVE THE WORKER -it's not going to be a worker any more. *With the third passive pair from the outside edge, work to the outside edge and back through 2 pairs of passives. Tie this new worker and then work through the rest of the passives (up to but not through the old braid worker pair). Repeat from * - note that after tying the new worker, the remainder of the passives you are working through doesn't include the original worker pair or any of the pairs that have been through the process just described - ie, there will be one less passive pair to be worked through each time. Repeat this until you have worked all of the pinholes around the outside curve (about 180 degrees worth) to a pinhole that is more or less level with pivot pin. (If you run out of passives to use for this, I'm not sure what you do. I know it doesn't matter if you have used all of them and, in fact, ideally at least 2 pairs won't have been needed.) The next passive pair that is worked out to the edge works back through all of the pairs between the outside edge and also works at edge stitch at the pivot pin, which is removed and replaced in the correct positionunder this new stitch. This pair becomes the new worker pair for the next length of braid. To stop the 2 passive pairs on the outside edge from being pulled in (remember, you take the 3rd on each time, so these 2 pairs travel undisturbed around the outside of the cloth stitch), tie the pair you are bringing back in after working these 2 passives before continuing to work through the rest of the passives. (Have just gone back and inserted this bit in sequence). Hope this makes sense. When I first saw it in the book, I didn't like it - preferred the scroll worked by going back to the pivot pin repeatedly, but this method is really cute once you have tried it. Christine J in Sydney, where we've finally had a few cold days Date: Fri, 03 Jun 2005 11:36:51 -0700 From: Kathy [EMAIL PROTECTED] Subject: [lace] Milanese scroll method I am trying to work the beginner's piece of Milanese lace from Milanese Lace: An Introduction by Patricia Read and Lucy Kincaid. I have read the directions several times for working the curve in the scroll method and just don't get it. Is there another source that may have that method described differently that may make sense to me? I have been using a pivot pin to get around the curve, so I can continue with the piece, but it is much fuller than the picture, and I would like to understand the method used in the pattern. Thanks for any help. Kathy from Holly MI - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Polyester Threads
Dear Pene, Many years ago now I made half of quite a large edging in Torchon lace in polyester thread (some cheap brand I bought at the supermarket because it was a perfect colour match for the fabric on which I wanted to mount it). Mindful of all the dire warnings about synthetic threads and with the threads stretching and bouncing every time I tensioned them, I muttered dire predictions about the whole thing being likely to collapse it on itself as soon as the pins were removed. My friend (???) convinced me that I should cut it off and give up if I was so convinced it would be a disaster, so I did AND the rotten thing sits as beautifully as any other piece I've made. (And I really can't use 2 sides of the square!). I re-started the pattern in Madeira Tanne 30 and after about 4 inches, I broke 6-8 threads within a few stitches, so I also have a 4 inch sample. (The pattern had an extended fishtail fan, a half stitch trail and cane ground). Christine J Sydney, Australia, where there is a tiny hint that it really might be autumn now. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Newbie in OZ
Dear Jenny, There is a lace group (or at least a lace contact) in Kununurra, so help may be closer than you realised. Not surprisingly, they aren't on the rotation for the WA monthly lace days (but then neither are Geraldton and Narembeen and they are a lot closer to Perth)! Please e-mail me privately for contact information if you would like it. I've no idea how large or small the group is - I assume they're friendly. (I returned east late last year after 18 months in Perth where the local lacemakers were very welcoming). This seems like a good opportunity to put in some free advertising for this year's AGM - a week of lace workshops, a shopping day, display etc - in beautiful Perth (one of the best kept secrets in Australia). It won't be on the scale of the meetings in the US or Europe, but it's a great chance to network with other Australian lacemakers and learn from a variety of tutors.(And, for those Australian Arachneans from the eastern states, WA is a great place to go on holidays generally). I have picked a pre-AGM wildflower tour already and will book as soon as I get the all-clear after my recent health scare. I am reluctantly conceeding that the Darwin-Broome-Darwin cruise with lots of excursions to shore via Zodiac that I had been planning is probably not a good idea :-( Christine J, Sydney (missing Perth despite living there for such a short time) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Anne-Marie Clegg booklets
Dear Tamara and ?Jean (I've managed to lose lace-digest #53 with the relevant posting, so I'm not too sure who I'm speaking to) Anne-Marie actually published 4 booklets. Christine J (Sydney, Australia) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Margaret Simeon's Lace Collection
At least some of Margaret Simeon's collection have be sold at auction. A least a couple of the pieces were bought by Janice Jones, a collector (who is also a lacemaker) in Australia. She bought it ??8 years ago but I'm not sure whether directly from Margaret Simeon / estate or whether it had already been bought be someone else and sold on. Christine Johnson who has been off the air for about 6 months and recently re-subscribed after the trip to Greenland/Iceland and moving back across Australia from Perth to Sydney. (I don't believe it, but Sydney does seem like home despite 11 years of living elsewhere. Perth is still the best kept secret in Australia and I hope to return one day). Date: Wed, 16 Feb 2005 17:59:41 -0500 From: Susan Lambiris [EMAIL PROTECTED] Subject: [lace] Margaret Simeon's lace collection Recently I bought an english book, History of Lace, published in 1979 by Margaret Simeon with illustrations from her own lace collection. Judging by the photographs she had quite a good collection of lace; does anyone on the list know what has happened to it since 1979? With great curiosity, Sue. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] UFO's and Tonder Book
Last year or maybe in 2002, I finished a smallish Bedfordshire project I started with Christine Springett in ?1993 - it was a handkerchief corner that you could almost imagine was butterfly-shaped. (Don't ever be tempted to lend me bobbins; this project was done using borrowed bobbins and my friend was so used to them being at my place, she lent them back to me only 3 months after they finally went home to her). There are 3 other Bedfordshire samples still waiting (probably for eventual cutting off rather than finishing, but I haven't conceded defeat yet) - the oldest of these would date from the 1994-1995, now that the corner is finally off the pillow. And, only last night, I tied off some samples I made for Pat Milne's invisible joins workshop in ?about 1992. I'm delighted to hear that I'm such a long way short of the record! Thank you for the information about Barbara Fay stocking the Tonder book, Clay. I'll be in Denmark very briefly in 10 days time and have been agonising over being so close but it being likely impossible I would be able to obtain the book then. If I send to Barbara Fay for it, my bobbin-lending friend will get to open another one of my new lace goodies while I'm away. (So far, she's getting Sally's new book, the set of 4 CD's, the Devon Trolly Lace book and, if I can get it organised before I leave, Beryl Maw's pattern pack. Come to think of it, would anyone else like to lend me bobbins...?) Christine J (And Perth is still the best kept secret in Australia even if I'm leaving it soon). - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Informal Survey
I usually lurk, but thought I would mention that I am frantically working to finish a Binche handkerchief edging before I have to move house. It's a fairly simple one, from a 1999 issue of Kant. There are various other pillows with unfinished workshop projects on them (I've become more disciplined with age and don't switch between thread sizes and styles on different pillows any more), and a whole bunch of ideas at various stages on the drawing board. I'm also knitting scarves and beanies in front of the television at night for the trip to Greenland / Iceland etc that I am leaving on in 10 days time. Christine J (Perth, Australia, where winter is warmer than summer in Greenland and Iceland) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Kant Kwaartal
Dear Bev, The pattern I think you mean is in Volume 1, No 3 of Kant Kwaartal, August 1988. (Is it page 2 with tallies near the footside for the sepals and little beads for the seeds?) There is no designer's name, so I assume Jolanda de Boer designed it herself. (Only in the later issues did other designers start to feature). I have all of the issues up until Volume 14, no 4 (2002)* and have wondered whether the magazine is still published - I sent a letter to continue my subscription (to the Bourtange address which appears in some of the later issues) and it vanished into the ether! *except Volume 13, No 1 - so Helene or Jo, if you have access to this issue, I'm looking for the first part of the Russian triangles set, please Christine Johnson (in wet and windy Perth, Australia, contemplating packing all of those lace magazines for the move back to Sydney) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Twined Gimps in Torchon
Hello everybody. I've been lurking for a few months now, but Noelene's posting about gimps has stirred me to contribute. (I'm leaving the question of the lace police alone - that could take all day!) If I understand the description (I'm definitely a diagram rather than a words person), the technique Noelene used was described by Brigita Fuhrman in her book as twined gimp'. She notes Twined gimp is very rarely used in Western Europe, but is a favourite in Russia and Eastern Europe. The twined gimp consists of a full pair of bobbins wound with thread as thick as or slightly thicker than the rest of the threads. Very often the gimp is of a different color than the rest of the lace. and there are diagrams, photo and pricking for a sample. Since I've been off on somewhat of a tangent of late charting bird figures in Russian Torchon lace from photographs in the books I have available, I went back to the photographs with a magnifier and can confirm that Torchon style lace made in Russia often used twined gimp rather than that simple gimp that is more familiar to us. One of the patterns, which has several figures outlined in a different colour each, also has a geometrical edge with 2 different coloured threads used. Using heavier threads for a twined gimp gives some really interesting effects as well - it seems to be how some of the laces that look more like embroidery are worked. In my search for birds in Russian Torchon lace, could I ask if any of you can help me out. As well a Brigita Fuhrmann's book, I have access to the following books: Davydoff La Dentelle Russe (from Digital Archives) Yefimove and Belogorskaya Russian Lace and Embrodiery Aurora Art Publishers Russian Bobbin Lace Ketshemaikina and Dehnel Kloppelspitzen aus Wologda Sorokina Spitzen von Russland. Wologdaer Kloopelspitze (my newest, some overlap with the Aurora Art book, but delicious, if pretty picture books are your thing) I know there is at least one more out there - I have a stray photocopy of a photocopy from my local lace group's collection that I haven't found the source of yet. The caption is in Russian. Christine Johnson (ex-Sydney and Newcastle, now living in beautiful Perth - the best kept secret in AUstralia). - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
