[lace] Point ground

[Karen Thompson]

Thank you for your input, Lorelei. I agree completely, including with your
assessment of Palliser.
Of the 21 preserved black silk Ipswich laces from 1789-90 from Ipswich,
Massachusetts in Library of Congress, almost half uses kat stitch ground and
the rest some variation of Brussels/Torchon ground. The only place point
ground is used is as a filling in one of the samples. This seems to be a
fairly new development in 1790.
-Karen
-- 
Karen in Washington, DC

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[lace] Muslin applique

[Karen Thompson]

Hello,

One of the many mystery pieces I come across in the Smithsonian lace
collection is some sort of muslin applique. I am hoping one or more of
you have suggestions about this type. Loosely woven cotton fabric is applied
to the back of the Raschel machine made net with a chain stitch. I think the
chain stitch is done on the Bonnaz or Cornely.  In most laces of this type
the fabric is on the front of the net but here it is behind the net.
I can send photos to anyone interested.

Karen in Washington, DC

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[lace] Early lace knitting machine

[Karen Thompson]

Knitting together


http://www.knittingtogether.org.uk/cat.asp?cat=599

The East Midlands, UK, knitting industry is the subject of the
fantastic virtual and physical museum called Knitting Together. The
knitting industry has been in the East Midlands since the 16th
century, and visitors interested in learning about the ever evolving,
sometimes violent history of knitting manufacture will definitely want
to check out the Timeline located on the right side of any page. The
timeline is very thorough, and explains the social consequences of
increasingly sophisticated knitting technology. Along with each
segment of the timeline, visitors can view and learn about objects
from the collection that relate to the events of the timeline, such as
a piece of lace made circa 1769 that may be one of the oldest pieces
of machine-made lace. Clicking on Virtual Museum and then Town
Tour will lead visitors to a tour of Leicester, which offers visitors
a chance to take a virtual tour of all the significant sites of the
town. Visitors just need to click on the purple circles on the map to
see recent, quality photographs of buildings that once housed knitting
factories, along with an informational blurb about the building or
location.

By clicking on timeline 1750-1810, and then “Changing products”,
“more”  you get to the early lace knitting machine.


-Karen in Washington, DC

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Re: [lace] Thorns for pins

[Karen Thompson]

Last week I saw a small bolster pillow from Brazil with strong thorns
used as pins.  I was in a workshop in Italy and one of the
participants brought this little gem in to show us. Nobody in the
class could identify the thorns. They were about 4 cm long, strong,
smooth and very pointy, making them easy to insert in the pillow.

-- 
Karen
Washington, DC

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Re: [lace] Doris Southard

[Karen Thompson]

I am also one of Doris Southard’s many grateful students.  My mother
gave me my first lesson in bobbin lace in 1974. My parents were
visiting us in Indiana from Denmark. She sent a Danish beginner’s book
which I struggled through. After Doris’ book came out I started
working through that, and gradually gained more confidence through her
lessons.  At first it was very confusing as I had started out with the
cross-twist method, so the twists were all in the wrong places.
Eventually I figured that out and was on my way. My early students
also learned from Doris’ book.  Later I took Doris’ class in Tønder
lace. I think it was at the IOLI convention in Atlanta. I felt very
fortunate having that opportunity, so I got to know her as the
delightful and generous person she is. Doris contributed enormously to
the spread of bobbin lace through her book.  Thank you Doris.


-Karen
in Washington, DC

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[lace] Blog about Hapsburg veil

[Karen Thompson]

This is the blog I posted on the American History Museum website about
the Point de Gaze Hapsburg veil from 1881 made for Princess Stephanie
of Belgium for her wedding.
http://blog.americanhistory.si.edu/osaycanyousee/2011/06/the-finer-details-of-the-hapsburg-imperial-bridal-veil.html
The blog is a very shortened version of my research, and a compromise
with the editor for a general audience. I will be glad to answer
questions, either here or by e-mail, and would be delighted if anyone
has any clues to the transition of the veil from Princess Stephanie to
Mrs. Post, or any other insights.

The veil is currently on display at Hillwood Museum in Washington, DC,
and I would urge any lace enthusiast coming to the area to see it.
When not on display it is folded in a large drawer in the American
History Museum in Washington, DC, where only a small portion can be
seen.  Regretfully, the Hillwood Museum did not agree to host one of
the tours during the IOLI Convention in Bethesda, Maryland during the
first week of August, but any individual can go and see the veil from
now through the end of the year.

 -Karen in Washington, DC, USA

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[lace] Lace Identification Booklet Hapsburg veil

[Karen Thompson]

Susan, and all
The wedding photo of Marjorie Merriweather Post's daughter Adelaide
Brevoort Close (1908-1998) was taken at the Hillwood estate in
Washington, DC. although her wedding to Thomas Tim Welles Durant on
January 19, 1927 took place in New York City. Adelaide wore a short
dress with a long train, so the only place the veil was not supported
was on her head, where it was fastened with orange blossoms at the
sides of the head. The Hillwood exhibition features a short silent
movie taken at the wedding, so we can really see how the veil was
used. --- It is amazing how well the veil survived both that and the
original fastening with a diamond brooch at Princess Stephanie's
wedding. There are small tears, but nothing very serious. So far, we
have not seen a close-up wedding photo that shows the veil at Princess
Stephanie's wedding in 1881.


The photo of MM Post's daughter wearing the veil in 1927 makes me wonder if 
the picture was taken at Mar-A-Lago, her former Palm Beach home now owned by 
The Donald?


Karen in  Washington, DC, USA

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Re: [lace] Blog about Hapsburg veil

[Karen Thompson]

The longer version of my research notes on the Hapsburg veil will be
available on-line shortly.

Karen in Washington, DC, USA

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Re: [lace] Blog about Hapsburg veil

[Karen Thompson]

Please be patient until Laurie is safe again after her evacuation from
the fires. Hoping for the best for her. She has offered to post the
longer version on LaceNews.

The longer version of my research notes on the Hapsburg veil will be
available on-line shortly.

Karen in Washington, DC, USA

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[lace] Lace: Re Bayeux Tapestry

[Karen Thompson]

As Jean points out the Bayeux tapestry is a very large piece of
embroidery. However the Smithsonian Museum has a needle lace verson of
the Bayeux tapestry. Fairly coarse Venietian style needle lace
depicting most of the scenes from the original tapestry on a 30 foot
long banquet cloth.  Any suggestions as to where, when and by whom it
was made? It is hard to imagine a workshop just deciding to make this
giant tablecloth, hoping to sell it. It must have been a commision.
But when and why?  Those of you attending the IOLI Convention in
Bethesda, Maryland and went on the trip to the American History Museum
saw it spread out. - A very rare sight. The banquet cloth was donated
in 1984 and most likely produced in the 20th Century.  Any clues will
be much appreciated.  The Burano Lace School do not have a record of
it having been made there.

Karen in Washington, DC, where the weekend is beautiful: cool and sunny.

 --
Date: Thu, 1 Sep 2011 14:46:29 +0100
From: Jean Nathan j...@nathan54.freeserve.co.uk
Subject: [lace] 1066 lace group - Post Script

P.S. I'm sure everyone's heard of the Bayeux Tapestry, which is actually an
embroidery. It's supposed to tell the story of what happened leading up to
the Battle of Hastings in 1066 and the conquest of England by the Normans,
including the death of Harold through an arrow in the eye. As it was made
after the event, it can't be taken as fact but as an interpretation.

Jean in Poole, Dorset,UK

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Re: [lace] Demonstration idea and spread the word

[Karen Thompson]

Three other lace makers and I demonstrate lacemaking -bobbin lace and
tatting -  in the public area of the American History Museum in
Washington, DC one hour per month. There is always lots of interest in
both watching and trying our hands-on-pillow. Often well over 100
people stop by to watch and ask questions in that hour. People come
from all over the US and the world. Many would like to find a local
teacher, but we feel somwhat limited in what information we can give.
The IOLI website is one source, but I wonder how many could find a
teacher from that? Giving out individual addresses of teachers or
groups listed in the IOLI Bulletin might not be very safe. I would
love getting ideas for making a useful handout with websites listing
teachers, as well as beginning techniques, in the US as well as in
other countries.
When demonstrating I always wear some of my bobbin lace jewelry that
I have designed and made, just to show that one can have fun with lace
and lace can be worn today. Since I generally demonstrate on an
Ipswich lace from 1790 I have reconstructed, I feel it is nice to show
the contrast.

-- 
Karen in Washington, DC, USA

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[lace] Irma Osterman and Doris Southard

[Karen Thompson]

How sad to hear of the passing of both Doris Southard and Irma
Osterman. These two exceptional lacemakers will be sorely missed. We
have all learned much from them, directly or indirectly through their
students. I had the fortune of knowing and learning directly from both
of them.  Doris Southard was my first bobbin lace instructor through
her book (after my mother had shown me the basics on the last day of
her visit). Doris was also very generous in responding to my queries.
Later I enjoyed her class in Tonder lace. Irma and I moved to Arkansas
at about the same time, and I was delighted to be part of her lace
group for the 5 years we lived there. She was such a fun person to be
around, as well as an excellent teacher. Irma loved needlelace and
contributed so much.

Karen in Washington, DC

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[lace] Translation

[Karen Thompson]

Hello,

I am working on some War Laces from Belgium from WWI, and am
struggling to come up with the best English translation of: Vlaandern
in den Kryg, Hulde van Ardoye, 1915  Hulde seems to have several
possibilities for Translation.  Another is Aan de Vereenigde Staten -
Hulde en Dank, 1915 And the third: Myn Vaderland is myn Duurbarst
Pand
Any help will be much appreciated.


Karen in Washington, DC

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[lace] re: translation

[Karen Thompson]

Thank you so much to everyone who chimed in on my translation question
for the inscriptions on some War Laces and on the spin-offs from that
conversation. Charlotte Kellogg's Bobbins of Belgium from 1920 is a
fascinating book about the War Laces, the lacemakers and the
organizers. Fortunately it is now on line, as mentioned.  Queen
Elisabeth of Belgium had already started an effort to improve the lace
designs, the standards of lacemaking and the lives of the lacemakers
in Belgium around 1911 before WWI broke out. This effort became even
more important during the war. Lou and Herbert Hoover along with many
others were instrumental in negotiating import of threads and the
export of the lace. Friends in various Allied countries supported the
effort by buying the lace.  Several famous Belgian artists contributed
by making designs. Isidore de Rudder and his sister Maria were among
those artists.   The whole history of the Begian War Laces is
fascinating, and several articles have been written about them.
Patricia Wardle, Elaine Merritt, Devon Thein are among the authors.  -
Sorry, I am not at home at the moment, and do not have my files to
check exact dates.

Karen in Washington, DC

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[lace] Bayeux Tapestry in needlelace

[Karen Thompson]

I am still looking for answers to the who, when, where and why about
the Bayeux Tapestry in needle lace. Now my blog is posted on the
Smithsonian website:

http://blog.americanhistory.si.edu/

-Karen on the sunny warm coast of the Atlantic in Delaware this week end

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[lace] Ipswich lace

[Karen Thompson]

Shell and others,
Since I subscribe to the digest, I just saw the posts about Ipswich. I
think your question has been answered well by other members. Marta
Cotterells book Ipswich Laces is the most comprehensive. The black silk
Ipswich laces from 1789-90 are some of the best documented early
handmade laces made in the US, as 21 samples exist in good shape at the
Library of Congress in Washington, DC. Anyone can go there and study them.
I have reconstructed most of them at this point. They are fascinating as
they all have many quirks. Some, if not most, were probably made by
pricking a pattern from a snippet of lace. They are not as regular as we
are used to today. The few that have more than one pattern repeat shows
quite a difference between the two repeats. The number of twists in the
picots and grounds vary a lot within each piece. These laces were made for
sale, not as a leisure time activity. Two of the lace samples do not have a
full repeat, and it is the same pattern with two different grounds. (They
are among those I have not reproduced yet).  Point ground (as in current
Buck's Point) was only used as a filling in one of the samples.  It was a
very new technique in the 1790. At this point we do not know who introduced
lace making to Ipswich Ipswich, Massachusetts, or when, only that a quarter
of all females in Ipswich made lace in 1789-90. Hard to imagine today.

Karen in Washington, DC

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[lace] lace - Yaspe silk

[Karen Thompson]

Ruth,
I am working on schal Sabrina with 3 colors of Yaspe shantung tussah silk,
and am loving the relaxed work while demonstrating or watching (listening
to) TV. Yes, the silk is very uneven and full of slubs, which I think is
part of it's beauty. It quite often gets stuck on the bobbins and have not
found a good solution, except grin and bear it while digging it out and
redoing the hitch.  I was afraid of running out of thread, so did not wind
nearly enough on each of the 140+ bobbins, resulting in many joins. Due to
the unevenness of the thread, the joins do not show, and the threads grab
each other - which is positive and negative. The thread is very strong. I
am making the shawl on a wide bolster pillow where I can do the full width
of about 10.5 inches (26 cm), so I don't have to join later.  I should have
started with large loops for fringe, so I wouldn't have to add them after I
finish - Oh well, hindsight..
You can choose another thread if you don't like the Yaspe.  Enjoy.

Karen in Washington, DC

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[lace] Lace: IOLI Convention

[Karen Thompson]

I am curious what other lace makers think about the IOLI Convention format
since the enrollment seems to be down this year. What could the reason
be? Is it too long to have a full week? and therefore too expensive both in
terms of days off and hotel and meal expenses? Or why do you think?

Karen in Washington, DC on a beautiful sunny day

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[lace] IOLI Convention

[Karen Thompson]

Should the tour day be kept in the middle of the week where it requires
extra nights and meals whether you want to participate in a tour or not?
Should the IOLI think about having the Convention every other year? If so,
alternating years to OIDFA?  I feel bad for all the organizers, who put in
an incredible amount work. If many of the classes have to be cancelled it
is also bad for the vendors.

-Karen in Washington, DC

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[lace] Teaching lace to children

[Karen Thompson]

In the past I taught dozens of children from about age 5 years through
teens to make bobbin lace. The most fun was with a group of 10 six grade
boys. The teacher said Good Luck and closed the door! These 12-year old
boys made their own lace tell and had great rhythm and were extremely proud
of their finished product to take home at the end of the hour - and it was
the easiest group I ever taught, much to the surprise of their teacher.

About lace in Scandinavian school. I grew up in Denmark and did embroidery,
knitting, crocheting, machine sewing, etc for an hour a week through junior
high. Apparently I never had a teacher who knew how to make lace - I
learned that later from my mother (who had learned it in school). I hear
from my relatives it is no longer  part of the curriculum in the public
schools in Denmark.

For the last 12 years several of us have demonstrated bobbin lace once a
month at the Smithsonian American History Museum in Washington, DC. Our
visitors come from all over the globe. A few have seen or heard of lace
being made by hand, but most are amazed to see lace being made. The
hands-on pillow always have eager participants, especially boys and girls,
but also many adults of both sexes.  It would be wonderful knowing if any
of them ever follow up at home.

Karen in Washington, DC

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re [lace] footside - Ipswich

[Karen Thompson]

The Ipswich laces from the late 1700's in the US have the footside on the
left , like Downton or Continental laces. The pillow was a large bolster
pillow.  At this point it is unknown who the first lace teacher was in
Ipswich, Massachusetts. Many of the immigrants came from various places in
England, but maybe not the original teacher?

-Karen
in Washington, DC, USA

From: Nancy Neff nnef...@yahoo.com
Subject: Re: [lace] footside

 How about Ipswich lace in the US?  Or does that not count since it probably
came over from England?

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re [lace] Ipswich

[Karen Thompson]

Lyn wrote:
 Is Ipswich more like Bucks, or a Continental point ground?  Might that
make a difference?  lrb

The American Ipswich laces from around 1790 are not point ground laces. The
main grounds are point de Paris (or Kat-stitch), or some variation on the
Torchon ground. Point ground was used as a filling in one of the black silk
samples from 1790 preserved in the Library of Congress.
Point ground was fairly new in the late 1700's, and might not have reached
across the Atlantic to Massachusetts. Some of the patterns used in the
Ipswich laces might have come from copying snippets of imported lace, but
as far as I know there is no hard evidence.

-Karen
in Washington, DC, USA

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[lace] re: Lace teaching

[Karen Thompson]

I have followed the teacher evaluation and qualification thread with great
interest, both as a student and as a teacher.
Janice, I think it is a good idea to provide the evaluation form beforehand
to IOLI teachers - especially the new ones -  and also give guidelines to
teachers as to how to deal with students who are either under and over
qualified for a class, and those who demand much more than their fair share
of class time. Maybe a short session at the Teachers Meeting?

No matter how well a class is described by the teacher, different students
will interpret it to mean different things. What does beginner,
intermediate and advanced really mean? It varies from one lace maker to
the next how they perceive their skills. More illustrations might help, and
that is now possible on the websites. But even illustrations are open to
interpretation. Some teachers who plan to write a book on their subject
might be reluctant to give out written material, as it will be copied and
distributed by students. It probably comes down to whether one teaches to
share the love and knowledge of lace or as a business.  Others might argue
that one learns more from taking notes than receiving a handout, which may
or may not make sense. I am personally in favor of clearly illustrated
hand-outs.

We all teach and learn in different ways. As a teacher I always learn
something from my students while teaching. I have been very fortunate
during my many years teaching lace making to have met a lot of wonderful
people, and it always pleases me tremendously when I see my former students
enjoy lace making, advance to a new technique, entering a contest,
teaching, etc. That to me is the real payment for teaching.

Karen in Washington, DC

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[lace] re: lace: Visit to Malta

[Karen Thompson]

We will be in Malta for a couple days Sept 1 and 2. I think I have Sept 2
to do my own thing.  Any lace suggestions from our Maltese friends? You are
welcome to answer me personally.


Karen in Washington, DC, where spring has finally arrived

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[lace] lace: War Laces made in Belgium, WWI

[Karen Thompson]

The first group of 37 War Laces in the Smithsonian American History Museum
collection is now available for study on the web. Please give me feedback,
as this is a work in progress, and we have much to learn from you about
these important laces.
*http://americanhistory.si.edu/collections/object-groups/world-war-one-laces
http://americanhistory.si.edu/collections/object-groups/world-war-one-laces*
Click
on expand to see the relevant information on each lace. Clicking on each
picture will enlarge it.  If this link does not work, try searching
collections.si.edu and then search War Laces. A few more will be added to
the website later as they clear some hurdles. The lace collection at the
American History Museum contains approximately 50 War Laces made by Belgian
lace makers during World War I, and donated by American collectors. I am
often asked why they are housed with American History, as they were made in
Belgium. Textiles were very important in developing early America, and are
therefore housed in this museum. Lace is part of textiles, and the donors
are Americans. Also, specifically for the War Laces, Herbert Hoover (later
U.S. President) played a large role in establishing the Commission for
Relief of Belgium during WWI.  I have been a volunteer with the lace
collection for the last 16 years.

Karen in Washington, DC

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Re: [lace] War laces

[Karen Thompson]

Since I subscribe to the digest, My reactions are not always immediate.
In Sacramento last year at IOLI I gave a power-point lecture on the War
Laces at the Smithsonian.
The lecture was after the Tuesday lunch and does not show up in the program
for the Convention. I don't know why they did not advertise it. Maybe it
never is?
After the Convention some of us went to the Hoover Archives to see the
laces and flour sacks.
After this coming IOLI Convention we plan to visit the Hoover Library to do
the same.
Thank you to Jeri, who asked me to post this note after I sent it to her
privately.

-Karen  in Washington, DC

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Re: [lace] lace: War Laces made in Belgium, WWI

[Karen Thompson]

It has been gratifying receiving your responses to the War Laces website,
both privately and on Arachne.
http://americanhistory.si.edu/collections/object-groups/world-war-one-laces
It makes us want to continue our volunteer work with the lace collection.
Regretfully it took a couple days for all the high resolution images to
fully upload to the website, so several of you were rightfully frustrated
over the low quality. I think you will find better quality images now.
Click on the image to expand, then in the upper right corner x to close it.
To read the information, click expand in the upper right corner of the
text, and for more information and sometimes more detailed images, click on
the lower right Full view in the gray-ish banner after each lace. Hope this
helps.  We welcome more information and questions about these pieces if you
have any. Later this summer a few more War Laces will be added to the
website. The issue of the introduction coming up on every page is being
addressed.
Liz, yes, together with Carol Watson, I put together the lace display at
the American History Museum for the IOLI Convention in Bethesda and was one
of the volunteers in the main Textiles storage room. I was the one giving
the talk about the War Laces at IOLI last year.
Jeri, Thank you for adding the Hoover Library website.

Karen  in Washington, DC

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Re: [lace] lace: War Laces made in Belgium, WWI

[Karen Thompson]

If you read to the end of the introduction you will find that you can click
on a link to bypass further introductions, and concentrate on the lace
http://americanhistory.si.edu/collections/object-groups/world-war-one-laces
- and Commission for Relief in Belgium has been added to the introductory
text again after it mysteriously disappeared for a day or so.

Karen  in Washington, DC



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[lace] lace: War Laces

[Karen Thompson]

 about them.

[image: Lace]
http://americanhistory.si.edu/collections/search/object/nmah_623132

The design of the above lace border was specifically made to appeal to
Dutch women for their bonnets. A single repetition of the pattern measures
half an el, the old length for a bonnet. As it was wartime, people saved
on luxuries so instead of using an el, approximately 69 cm (depending on
the area), some only bought half an el. When the budget allowed it, they
could use two pattern repeats of the lace to decorate the bonnets. The way
the motif is finished, it was easily inserted into the linen of the bonnet.

*Karen Thompson is a Volunteer in the Division of Home and Community Life's
Textile Collection. To learn more about Belgian lace makers in World War I,
she recommends Charlotte Kellogg's* Bobbins of Belgium
https://books.google.com/books/about/Bobbins_of_Belgium.html?id=lLUaYAAJ
hl=en,
*Funk  Wagnalls Company, 1920. She also recommends our blog post
http://americanhistory.si.edu/blog/embroidery-under-fire about
embroideries made by women in France during the war.*
Author(s):
Volunteer Karen Thompson
Posted Date:
Wednesday, August 19, 2015 - 08:00
Categories:

   - Women's History http:///blog-tags/womens-history
   - From the Collections http:///blog-tags/collections

Tags:

   - Art http:///tags/art
   - Textiles http:///tags/textiles
   - Women's History http:///tags/womens-history

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[lace] Lace in Greece

[Karen Thompson]

In early November I will be in Greece for a couple weeks with my husband.
Can anyone recommend any museums and/or shops with lace, or anything lace
related in Athens? We'll also visit Crete among other places.
Thank you.

Karen
​in Washington, DC​

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Subject: [lace] "Tribute to Ardoye" war lace

[Karen Thompson]

Hi Vickie and other Arachneans,

Great question about the Tribute to Ardoye War Lace:










* I have a construction question about the second piece on the first page
ofthe war laces section.  It's a table runner titled "Tribute to Ardoye".
The embroidered emblems surrounded by lace ground on the border of
thispiece appear to have button hole stitch edges.  Would they have been
appliquéd using a buttonhole stitch onto a large areaof ground after the
lace was complete or would the ground have been sewn ontothe buttonhole
stitches as the lace border was made?*

I will check next week when I am back at the Smithsonian and let you know.
I am spending a week at the beach making lace and do not have access to any
more images of the laces than you do this week. Instead of answering what I
think it is, I will check before answering.

You can see the War Laces and samples from the Lace collection at

http://americanhistory.si.edu/collections/object-groups/world-war-one-laces

http://americanhistory.si.edu/collections/object-groups/lace-collection

When you click on Expand in the upper right corner and then View full
record in the lower right you can see more images for some of the laces.
These images can be enlarged on your screen.
Many more will be added to the lace-collection group.

​-​
Karen
​in sunny Delaware on the Atlantic coast​

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[lace] ​ [lace] "Tribute to Ardoye" war lace

[Karen Thompson]

​Hi Vickie,

In response to your question:

  ​

​- ​
I have a construction question about the second piece on the first page of
​ ​
the war laces section.  It's a table runner titled "Tribute to Ardoye".


​-​
The embroidered emblems surrounded by lace ground on the border of this
​
piece appear to have button hole stitch edges.

​-​
Would they have been appliquéd using a buttonhole stitch onto a large area
​
of ground after the lace was complete or would the ground have been sewn
onto
​
the buttonhole stitches as the lace border was made?


The embroidered emblems on the Tribute to Ardoye War Lace are embroidered
​on woven ​fabric
with satin stitch and French knots. No buttonhole stitches are used. The
outside of each emblem is bordered with tightly spaced satin stitches. The
ground is made to fit, not carrying behind the emblems. The back of each
emblem has a 1/16th inch wide (about 1.5 mm) tightly woven(?) ring,
possibly made with bobbin lace, to which the ground and emblems are
whip-stitched.



http://americanhistory.si.edu/collections/object-groups/world-war-one-laces



-Karen in Washington, DC​

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Subject: [lace] Philadelphia's Lace Collection

[Karen Thompson]

What a wonderful discovery at the Philadelphia Museum of Art.
1. Here's a link to lace in the Philadelphia Museum of Art:
http://bit.ly/229QEnT

​Let's hope some of the lace enthusiasts near Philadelphia can help the
museum with their labels, and also choose good pieces for a temporary
exhibition (behind-the-scenes​?) for the IOLI Convention there next year.
Museums are notoriously understaffed and underfunded, so it takes
volunteers to do much of the work.


Karen
​in Washington,DC where spring seems to have returned, and the cherry
blossoms will be at their peak March 23-24 (according to today's
predictions)​

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[lace] lace: Sara Hadley

[Karen Thompson]

Does anyone know when Sara Hadley published her bobbin lace patterns?  I
have spent a good many hours trying to find information with no luck. At
the Smithsonian American History Museum we have some of her patterns. I am
guessing from the early 1900's as they are very similar to the ones
copyrighted by the Torchon Lace Co (Princess Lace Loom or Machine), and in
fact were donated with a Princess lace pillow, patterns and books. I have
found when she lived (1860-1927). She had a lace shop in New York in the
early 1900's and published books through Butterick, where she was an
editor, and in Ladies' magazines. She claimed to have invented Battenberg
lace, which she called "Modern Lace". In 1901 she writes in "Modern Lace
Making": “Pillow lace, while exceedingly dainty and pretty, is not
adaptable to the workers of today”, so I am guessing her bobbin lace
patterns are later. She mostly published on tape lace (Modern Lace Making
or Battenburg), but also on crochet, hardanger, filet and Romanian Point
(cut work) among other laces.
Thank you
​-​
Karen
​in chilly but sunny Washington, DC​

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Re: [lace] lace: Sara Hadley

[Karen Thompson]

Dear Jane, Janice and other Arachne friends,

Thank you for your input on Sara Hadley. The more I look at the patterns
and look at her other work, the more I think Sara Hadley just sold these
bobbin lace patterns. One bundle of 3 patterns has her name on the sleeve.
If someone can help me post a picture, you can see one of the prickings.
Along the upper right hand edge is printed: Pattern no. 5 - Place pattern
on roll with this edge to the right - Begin at fig. 1 - Copyrighted.  No
mention of when or by who.  Any suggestions?

Karen
​in sunny Washington, DC​

[demime 1.01d removed an attachment of type image/jpeg which had a name of Sara 
Hadley 09E.jpg]

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[lace] OIDFA Congress

[Karen Thompson]

Jeri and other lace friends,
I will attend both the OIDFA Congress and tour, and also IOLI this year -
with husband in tow for both.
At least two more from our local lace guild will also be in Slovenia.
Looking forward to being with other lace enthusiasts.

Karen
​in Washington, DC​

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[lace] Bacton Altar Cloth

[Karen Thompson]

Thank you, Louise for posting about the Bacton Altar Cloth: Very
interesting! The piece has been much mended and well taken care of,
presumably because it is such a special piece. In Janet Arnold's book from
1988, Queen Elizabeth's Wardrobe Unlock'd, there are a couple illustrations
in the Stowe Inventory part of Chapter IX (386, 387 on p.293) of the same
piece of embroidery. The text says: A slip of vine, caterpillars, insects
and birds, two details from a large panel of white ribbed silk with an
additional weft of silver threads, embroidered with polychrome silks, said
to have belonged to Blanche Parry, c. 1590-1600. The Church of St Faith,
Bacton.

"Splashed over the papers is the identification of an altar cloth in a
small church in Herefordshire as a piece of a dress from Elizabeth 1st.
It is being conserved by BRP: and there is a lovely short film on youtube.

https://www.youtube.com/watch?v=BD1Fy1WGqLk

It appears that this story is linked to  a new book : the private life of
the Tudors."

-Karen in rainy, cold Washington, DC

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Re: [lace] Lace: Point ground laces

[Karen Thompson]

Devon, Thank you for correcting this. I am away from my books at the
moment. It makes much more sense that he studied the point ground laces in
the early 1800s, when there is no question they were made. Another sample
of disinformation in some of the old articles.
Karen - in sunny and cool Delaware

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Re: [lace] Lace: Point ground laces

[Karen Thompson]

Thank you for the comments on the point ground. Hopefully there will be
more. As Devon and Lorelei say, it makes sense that due to fashion changes
in the late 1700s to much simpler and lighter laces and clothes in general,
the point ground provided a lighter background for the motifs. At the same
time it was also quicker to make.
Point ground is also the ground that was imitated on the early twist net
lace machines. By looking online I found this when searching for John
Heathcoat, lace machine.
http://victorianweb.org/technology/inventors/heathcoat.html Here we can
read that John Heathcoat at the age of 21, in 1753, 'laboured to compass
the contrivance of a twist traverse-net machine. He first studied the art
of making the Buckingham or pillow-lace by hand, with the object of
effecting the same motions by mechanical means'. From Samuel Smile's
Self-Help (1859). If this is true, lace makers in Buckingham made point
ground lace in 1753. It would be great to ascertain this from other
sources. Mr Heathcoat's fist successful lace machine making bobbin net was
set up in 1809.
-Karen

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Re: [lace] Lace: Point ground laces

[Karen Thompson]

Lorelei,
I agree completely. I have never read anywhere that the lace made in
Buckingham in 1750 was point ground. What made me pause on this article was
that Mr. Heathcoat supposedly learned to make lace from the Buckingham lace
makers around 1753 and imitated the point ground on his Loughborough
machine. But the machine was not made until 1809, and we know that point
ground was made before that. So could he have tried, unsuccessfully, to
imitate other grounds, like Mechlin, earlier? and not until the point
ground was made by hand could he make it by machine? Also, we have no idea
what background Mr. Smiles had for writing his article in 1859.
As usual, more questions than answers.
-
​Karen​

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Re: [lace] Lace: Point ground laces

[Karen Thompson]

The angles of the samples are anywhere from about 33 to 68, sometimes in
the same piece! Some of this might be due to distortion of the samples
between being made in 1789 and being mounted on acid-free board in the
1970s or 1980s at the Library of Congress. Or the prickings might have been
distorted by having been copied a number of times - or from the snippet of
lace they made the pricking from.
-Karen

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[lace] Lace: Point ground laces

[Karen Thompson]

It is with great interest that I have followed the conversations about
Mechlin, Valenciennes, Binche, etc. and am wondering if the conversation
can continue with point ground. So far, I have not been able to find a date
(approximate) for the start of point ground laces. The closest I have come
is late in the 1700s.  Of the 22 Ipswich lace samples made in Massachusetts
between 1789 and 1790 and preserved at the Library of Congress, only one of
them employ point ground, and that is as a filling. Most of the grounds are
Paris ground/Kat stitch or some version of Torchon, including honeycomb. My
guess is that point ground was fairly new, but one of the lace makers
figured out how to make it from a snippet of imported lace.  Any help will
be greatly appreciated.

-Karen  - usually in Washington, DC or Delaware

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[lace] re: Ipswich Lace sampler book

[Karen Thompson]

Thank you so much for your support of my Ipswich Lace sampler book. It is
very gratifying to hear that my efforts are appreciated. A special thank
you to Jeri for your positive review and good advice on The Lace Samples
from Ipswich, MA, 1789-1790.
Please let me know of any mistakes you find that need to be addressed in a
possible future revised edition. On first read-through of the printed
version I found that p.10, line 4, (fig.3) should be (fig.2).

Those of you coming to the IOLI Convention in July can pre-order the book
from me (privately) before July 1 with a $2 discount ($22), with payment
and pick-up at Convention. The book will also be available through Holly
Van Sciver and Maria Provencher, as well as Amazon.  Canadian friends: I
have been informed that the book will be listed on Amazon-ca after June 25.

Looking forward to seeing more Ipswich lace embellishing clothing and being
made, displayed, and demonstrated. I find it to be a fun and challenging
lace. Warning to those of you wanting to make corners. Only a few of the
patterns are on 45 or 60 degree grid.  In order to get the motifs as close
to the original as possible, I used different angles for the grid in most
of the reproductions (Thanks to the Lace8 program). Besides, corners in
lace were not common in 1790 in this type of lace. Straight borders were
gathered or folded for corners.

Happy lacing
-Karen on sunny and warm East Coast of the US

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[lace] Book on the Ipswich Samples from 1789-1790

[Karen Thompson]

The samples of black silk lace edgings made in Ipswich, Massachusetts, in
1789-1790 are finally available to all lace makers and historians.
"THE LACE SAMPLES FROM IPSWICH, MASSACHUSETTS, 1789-1790. Patterns and
Working Diagrams for 22 Lace Samples Preserved at the Library of Congress"
ISBN 978-0-9990385-0-5, by Karen H. Thompson is now in print!!
Over the last many years I have been working on and off reconstructing
these wonderful samples, and have now made the complete set available in a
book format for everybody to enjoy. The soft-cover book has a short
introductory history, building on Marta Cotterell's Ipswich book from 2003.
A few pages are dedicated to basic technical information, including the key
to the color-coded diagrams. The main section is the patterns. Each pattern
has 2 facing pages with an image of the original sample, the reconstructed
sample, the color-coded diagram and the the full-size pricking.  The
pricking is located close to the edge of the page, so it can be copied (for
personal use only, please). A couple of the more complicated patterns has 2
extra pages with detailed diagrams.   The book is available through Amazon,
both in the US and on other continents. It retails for $24, or the
equivalent in other currencies. You will be able to preview several pages
on the Amazon site. At the IOLI Convention in Philadelphia July 16-22, 2017
the book will be available from Holly Van Sciver and Maria Provencher, and
by pre-order from me directly, as long as I receive the order before July
1. Please contact me privately.
It is my great hope my many long hours with this project will be of benefit
and pleasure to the lace community.

Karen on the East coast of the US

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[lace] Bucks point

[Karen Thompson]

You can see the pricking on an original Ipswich pillow from the late 1700s
on the Smithsonian lace collection website:
http://americanhistory.si.edu/collections/search/object/nmah_644978
Click on expand, and then there are 9 images.
Note that the foot side is on the left.

To see the rest of the 45 objects currently on the website, search:
Smithsonian lace collection, plus the War Laces at: Smithsonian War Lace
 Yes, regretfully still only very few of the approximately 6,000 lace
objects...  I keep working on it, trying to get past the bureaucracy...

-Karen in Washington, DC

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Re: [lace] Bucks point - on Ipswich-style Pillow at Smithsonian

[Karen Thompson]

There is not necessarily a relationship between American Ipswich Lace and
England's Bucks Point, except that Mrs. Lakeman, who had made Ipswich lace
in the late 18th C, used her equipment from that period to make the newer
Point ground lace later in her life.

-Karen

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[lace] Ipswich Lace pillow

[Karen Thompson]

Dear Ann,

I think two Ipswich, Massachusetts lace pillow entries are mixed here. Jeri
wrote about her very interesting pillow under Ipswich style pillow.  Under
the Bucks Point discussion I gave a link to the one with the tag, which is
in the Smithsonian Museum collection in Washington, DC, USA. You can find
it by searching: Smithsonian lace collection, and scrolling to the next to
the last object or
http://americanhistory.si.edu/collections/search/object/nmah_644978
By clicking on the title of the Ipswich lace pillow entry, several pictures
are available. The text on the label says: "She lived to be over 90, worked
on this pillow the day she died. She feared she lacked "dying grace" but
God took her while she knelt in prayer". Hope this clarifies.

Karen, currently at snowy Bethany Beach, DE, but as often in Washington, DC


Date: Fri, 8 Dec 2017 21:46:33 +
From: Ann Humphreys 
Subject: [lace] Ipswich style pillow

I didn’t receive any replies to my question so I will  try again.
I can read the first few lines of the tag.
(She lived to be over 90 and worked on this pillow the day she died)
I can’t decipher the rest but would like to know.

Ann
UK

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[lace] Smithsonian Ipswich lace pillow

[Karen Thompson]

Dear Janice, Lorri and others,
Thank you for all the interest. Hopefully this thread will help shed more
light on a very important part of American handmade lace history.

Janice writes: "One thing I did notice though was that the Smithsonian lace
had a left footside whereas most English lace to my knowledge have a right
hand footside.  Maybe Karen can explain why the change of side if the lady
who produced the lace originally came from England
​."

Elizabeth Lord Lakeman was born in Ipswich​, MA in 1767 and moved to
Hallowell, Maine upon marriage. She worked one of the original Ipswich lace
patterns as a young woman living in Ipswich, MA. It is now in the
Smithsonian collection, where you can see it at:
http://americanhistory.si.edu/collections/search/object/nmah_645070
​
or

as the last object
​ ​
by searching Smithsonian lace collection
​.​
 It corresponds to one of the samples from 1789-1790 at the Library of
Congress
​ (number 9)​
.  Later in her life she made the white point ground lace
​ that is​
left on her Ipswich pillow when she died at the age of 94.
​
At this point we do not know where the first lace teacher in Ipswich, MA
came from or when, but since about 600 lace makers made lace in Ipswich, MA
in 1790, lacem​aking had been practiced
there
​ ​
for a long time. Most likely the original teacher came from the
​c
ontinent or the Downton area as the footside is on the left.
​
Lorri writes:
"
If the bolster was situated opposite of the photo, wouldn't the foot side be
​
on the right.
​"​
 The bobbins are no longer attached, but the direction is still clear from
the finished lace in the back and the broken threads from the bobbins in
the front of the pins. This and all the Ipswich, MA samples have the
footside at the left.

Karen - in sunny and cold Delaware, USA ​
 ​

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[lace] Re: [lace] Buck’s pricking

[Karen Thompson]

I have tried working without the pins in the ground, and find it hard to
keep the right tension, but I am sure with practice it would be fine. It
certainly would be much faster and cheaper.

Karen
On Wed, Dec 6, 2017 at 2:55 PM, Devon Thein  wrote:

>
> Karen, have you tried working it without the pins?
> Devon
>

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[lace] Ipswich lace

[Karen Thompson]

Maureen, Nancy and others,
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. 
Since I subscribe to the digest version I have not been able to respond 
immediately. My apologies.

-Karen

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[lace] date for Bucks point

[Karen Thompson]

Thank you Alex and Devon for chiming in on the question of beginning of the
point ground laces. Devon, it would be interesting to see your pictures. It
seems reasonable that the lighter, airier fashion in the late 1700s with
tiny sprigs lent itself to the double thread ground c-t-t-t as opposed to
the 4-thread grounds like Droschel, Mechlin and Valenciennes. Santina
Levey: Lace A History, p. 71: "...the eighteenth century saw a steady
reduction in the density of pattern" but says nothing about the
construction. The first mention of simple, twist net ground is Fig 352
showing Lille lace from ca.1800.  Judyth Gwynne writes in The Illustrated
Dictionary of Lace p. 32 about blonde: Laces with fond simple ground
(1754-93)... with no reference to where that information came from.
The price of linen certainly also could have contributed to using less
thread, as well as the beginnings of the machine made point ground like
nets. Hannover and Eslykke both say the point ground Tønder laces are
imitating Arras lace around 1800, but I cannot find reference to Arras lace
history.

Karen - currently in Washington DC, where my lace books reside.

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Re: [lace] Bucks Point-Hallowell, Maine

[Karen Thompson]

I am not sure Jeri's pillow belonged to Mrs. Lakeman. There could have been
other lace makers in Hallowell. Moreover, Jeri's pillow from Hallowell is
much larger than any pillow I have seen from the era of the Ipswich lace
industry. The prickings I have seen from the late 1700s at the Ipswich
Museum are about 30 in or 77 cm long to fit around the Ipswich bolster
pillow. See
http://americanhistory.si.edu/collections/search/object/nmah_645070 or the
last object on the webpage for the Smithsonian lace collection.
-Karen



On Sat, Dec 9, 2017 at 3:42 PM, DevonThein  wrote:

> 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 can’t be a co-incidence.
>
> Devon
>
>
>
>
>

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[lace] Smithsonian Ipswich lace pillow

[Karen Thompson]

Hi Susan,
The white lace on the Smithsonian Ipswich pillow is a simple point ground
lace made about 70 years after the Ipswich lace industry.  Moreover, as
Adele pointed out, the Ipswich lace makers made white linen laces in the
late 1700s. We don't have samples, so we don't know what kind it was. The
lace on the pillow is made with cotton thread, which was not commonly used
for lace until the 1830s after gassing (burning off the fuzz of spun cotton
thread) became common. This was well after the Ipswich lace industry had
lost out to machine made laces.
-Karen

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[lace] Re: Ipswich lace

[Karen Thompson]

Yes, there is a point ground lace on the Ipswich (Massachusetts) pillow at
the Smithsonian. It was being worked on by a 90+ year old lace maker in the
1860s. She had worked Ipswich lace during the late 1700s on the same lace
pillow while living in Ipswich, MA. Not surprisingly she was still using
the equipment she brought with her from Ipswich when she got married and
moved to Hallowell, Maine. It is hard to know where she got her point
ground pricking, but since point ground lace was very common in the 1860s
she could have received that pricking from anywhere. Or maybe she made it
herself from a snippet of lace? We don't know. I think the extra rows of
pinholes makes it possible to make the lace anywhere from 1 1/2 cm to 3 1/2
cm wide. Whether the lace maker used wirkiepin or sewing edge would not
make a difference on the pricking, just the number of bobbins she used.
Hope this helps.
-Karen
F
​rom Devon:​

On Sat, Dec 9, 2017 at 2:19 PM, DevonThein  wrote:

> 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, isn’t 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 Lyn’s 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
>
>
>
>
>
>

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[lace] Bucks Point

[Karen Thompson]

To get back to point ground: When was point ground c-t-t-t or t-t-t-c first
used in England, France, or other places? There seems to be mention of it
in the last quarter of the 18th century, but so far I have not been able to
pinpoint an even approximate date from a reliable source.  (I am not where
my books are at the moment, so cannot cite exact sources, but know I tried
in Santina Levey's Lace - A History as well as other reference books).

There has been some confusion about point ground and Ipswich. They are
really two separate issues, as Ipswich (MA) lace from the late 1700s in not
a point ground lace. The confusion has arisen from the fact that a
lacemaker (Mrs. Lakeman) made point ground lace on an old Ipswich pillow.
She might not have had the luxury of owning two pillows, and there is no
reason why a bolster pillow cannot be used for point ground. She might
still have been making lace to sell after she was married, so she would
have changed to a pattern that would be in demand at that time, such as
point ground lace. Moreover at the age of 90, her eyesight might not have
been good enough to work the more complicated patterns she had worked
earlier in her life.
Karen - in snowy Delaware this weekend

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[lace] Re: Lace: Ipswich, Massachusetts

[Karen Thompson]

Liz, yes, the lace on the pillow in the first picture is the one I made. It
is a reproduction from the pattern at the Smithsonian and the corresponding
lace (number 9) in the Library on Congress. It has been on display since
2001.
Karen,
I enjoyed reading the article.  Is the reproduction lace that you made the
one that is shown on the reproduction pillow in the article?
Liz R, Raleigh NC


Date: Sat, 12 May 2018 06:39:10 -0400
From: Karen Thompson <karenhthomp...@gmail.com>
Subject: [lace] lace. Ipswich, Massachusetts, lace

The Smithsonian Museum in Washington, DC, where I volunteer with the lace
collection just published my blog on the Ipswich lace Industry.
You can find it here, or search american history si blog ipswich lace
http://americanhistory.si.edu/blog/ipswich-lace

Hope you enjoy the blog, and please let me know if you can add anything to
the Ipswich story or have questions. There is still much to learn, such as
where the original teacher came from and when.  It is very interesting that
the lace was made on a round bolster pillow, approximately 30 inches (76
cm) circumference and the sewing edge was on the left.  I am guessing, but
have no concrete evidence, that the Ipswich lace makers got most of their
patterns by copying snippets of imported lace. It is also interesting that
only one of the samples they sent to Alexander Hamilton in 1790 has point
ground (c-t-t-t or probably t-t-t-c as they used bolster pillows). The
point ground is used as a filling only in this one sample, not as a ground.
The grounds are kat stitch (Paris ground) or variations on torchon ground.
You are welcome to share the blog with your local guilds.

Karen in either Washington, DC or Bethany Beach, DE

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[lace] lace. Ipswich, Massachusetts, lace

[Karen Thompson]

The Smithsonian Museum in Washington, DC, where I volunteer with the lace
collection just published my blog on the Ipswich lace Industry.
You can find it here, or search american history si blog ipswich lace
http://americanhistory.si.edu/blog/ipswich-lace

Hope you enjoy the blog, and please let me know if you can add anything to
the Ipswich story or have questions. There is still much to learn, such as
where the original teacher came from and when.  It is very interesting that
the lace was made on a round bolster pillow, approximately 30 inches (76
cm) circumference and the sewing edge was on the left.  I am guessing, but
have no concrete evidence, that the Ipswich lace makers got most of their
patterns by copying snippets of imported lace. It is also interesting that
only one of the samples they sent to Alexander Hamilton in 1790 has point
ground (c-t-t-t or probably t-t-t-c as they used bolster pillows). The
point ground is used as a filling only in this one sample, not as a ground.
The grounds are kat stitch (Paris ground) or variations on torchon ground.
You are welcome to share the blog with your local guilds.

Karen in either Washington, DC or Bethany Beach, DE

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[lace] Re: Lace: Making lace before diagrams

[Karen Thompson]

Elena, and other friends,

I have heard that color-coded working diagrams were developed in Belgium in
the 1930s. Before that a numbering system was used by some authors, with
lengthy explanations for each number corresponding to the hole in the
pricking.

Frieda Lipperheide, 1898, Das Spitzenkloppeln

https://www2.cs.arizona.edu/patterns/weaving/books/lf_lace_1.pdf

developed a fascinating grid system of explaining the stitches. Even if you
cannot interpret the Old German Gothic text and writing, the illustrations
are still fascinating. See page 3 of the book (not the pdf) for the
formula, and then scroll further to see it used. Ms. Lipperheide also uses
the tiny numbers by each hole, as was also used by other authors in the
late 1800s and early 1900s, such as Sara Rasmussen in 1884, and the Torchon
Company in the early 1900s. You will find that the Torchon Lace Company
copied most of their material from Sara Rasmussens book Kloppelbuch.

https://www2.cs.arizona.edu/patterns/weaving/books/rs_lace.pdf

The Torchon Lace Company
https://www2.cs.arizona.edu/patterns/weaving/monographs/tor_v1_1.pdf

You can read more about the Torchon Company in my blog written for the
Smithsonian
http://americanhistory.si.edu/blog/torchon-lace-company-fine-line-between-entrepreneurship-and-fraud
I am not using the umlaut and apostrophe on purpose to avoid the strange
symbols that show up in the Arachne posts.

-Karen in sunny Washington DC at the moment

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[lace] Lace: Making lace before diagrams

[Karen Thompson]

Karen: I have heard that color-coded working diagrams were developed in
Belgium in
the 1930s

> Marianne Stang: may I make a little correction? The color code was invented
in Bruges in 1911/12.
> The lace school had more than 70 students, so it became necessary to solve
this problem. That's why they came to the color code.
Karen: Dear Marianne,
That was exactly what I was hoping for. That somebody would know and correct
the myth. Thank you. I was surprised nobody had answered before.


-Karen
Sent from my iPad

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[lace] Re: the archetype of the lacemaker- books

[Karen Thompson]

Janine Montupet The Lacemaker from 1988 is a fictional story of a needle lace 
maker in the 17th century.  I remember enjoying reading this book years ago, 
thinking that since the author also has written book(s) on lace identification, 
I remember thinking that it probably was fairly accurate. At least a 
fascinating read.

-Karen, usually in Washington, DC, or Delaware, but in Minnesota at the moment

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[lace] Working with black thread [was "Thread"]

[Karen Thompson]

Interesting discussion about working with black thread.  I have worked
many, many hours with black silk thread while reconstructing the Ipswich,
Massachusetts laces from 1789-1790. I do not find it hard to work with when
using light grey pricking stock. The preserved Ipswich lace samples from
the late 1700s were made with black silk thread, not dyed later. Possibly
imported black sewing silk. One of the many areas still needing more
research. The Japanese companies YLI and Clover make nice black silk
threads for this lace. It is also sometimes sold as Tiger.  In regard to
the laces made in Ipswich, MA in the late 1700s, some were made with white
or ecru linen. Regretfully we don't have those samples available to study.
Only the black silk samples from 1789 have been located with correspondence
to Alexander Hamilton.

-Karen on the beach in Delaware

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[lace] lace: IOLI Bulletin

[Karen Thompson]

I, for one, was thrilled to see the IOLI Bulletin being offered in digital
version.  Like most others I much prefer having a printed version, BUT, we
are in the process of downsizing to much smaller space, so I simply do not
have enough storage space for all the wonderful Bulletins.  I hope at some
point in the future the old Bulletins will be digitized, and there will be
a nice digital index of articles and patterns, so they can be searched.
However, since I am not able to do it, it is just wishful thinking.

Hopefully, we can get together at the IOLI Convention.

-Karen in sunny, warm Delaware

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[lace] Re: lace books from Lowell Textile Museum

[Karen Thompson]

 Jeri wrote: And then, the American Textile History Museum (mostly about 
weaving) in Lowell Massachusetts closed a couple years ago...  I cannot find 
where the
conservation/restoration staff relocated, or where the huge library (including
lace books) was sent...

>From a very reliable source I have learned that most of the lace books went to 
>Cornell University Library.  Most of the sample books went to Henry Ford 
>Museum.  

-Karen
Currently enjoying a wonderful vacation in The United Emirates. 

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[lace] lace, Bayeux tapestry

[Karen Thompson]

In response to the inquiry about the Bayeux Tapestry, I was reminded that I
might not have added that we now know who made the needle lace version of
the Bayeux Tapestry at the Smithsonian, and also approximately when. See
http://blog.americanhistory.si.edu/ or search Bayeux tapestry Smithsonian.
Thanks to Michel Bouvot of Caen, who found a catalog from Melville and
Ziffer with a piece that is almost identical, minus the lettering, that
they exhibited in 1906 in Paris. “Les Grandes collections de dentelles
anciennes et modernes'” Exposées au pavillon de Marsan, 1906 –
exposition
de l’union centrale des arts décoratifs - Paris.
They also stated in another catalog from the early 1900s they had
difficulty keeping up with the demand from Americans for this type of lace.
Just another interesting tidbit of lace history.

Karen in sunny but cold Washington, DC

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[lace] lace, Bayeux Tapestry

[Karen Thompson]

Thanks to Lyn Bailey for pointing out that I seem to have given you the
general blog site. If you search Bayeux Tapestry in the search box you will
come to this:

http://americanhistory.si.edu/blog/2012/09/the-bayeux-tapestry-at-the-smithsonian-yes-but-who-made-it-when-where-and-why.html

-Karen

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[lace] New Zealand Lace happenings?

[Karen Thompson]

Dear Arachne friends,
Is there anything lace related happening in New Zealand, especially around
the Wellington area, in early December? My husband and I will be in
Wellington for a meeting on Dec. 6 and plan to travel around New Zealand
for several days before and after. We just learned about this, so nothing
has been planned yet, including tickets.

Karen in Delaware, USA

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[lace] re: Ebb 'n' Flow

[Karen Thompson]

It is with great interest I have read about Jane Atkins' Ebb 'n' Flow
exhibit. I will be in London on the last weekend of the exhibition and hope
to somehow get there. Is it possible with public transport?

-Karen on the Atlantic beach in Delaware where fall arrived last night.

Karen Thompson
Phone: 703-282-3420

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[lace] lace identification websites and books

[Karen Thompson]

We are really fortunate to have Jean Leader providing her new website
www.lacetypes.com  I just tested it on my hp desktop, and it is terrific. I
also often use Jean's Lace app on my i-phone. It is also very, very useful.
The symbol is a lace cap if you are looking for it. The cost is very
minimal and well worth it. Elena pointed out the V's site
http://www.dressandtextilespecialists.org.uk/wp-content/uploads/2015/04/Lace-Booklet.pdf
which
I also find extremely helpful, especially for identifying the machine made
laces.  Santina Levey's Lace - A History along with Pat Earnshaw's books on
lace identification are all fantastic. There are certainly many more, but
these are the ones I find most useful for most laces.

-Karen on the Atlantic coast in Delaware - and sometimes Washington, DC

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[lace] Lace: Arizona site for old books

[Karen Thompson]

Dear Arachneans,
Does anyone know what the current procedures are for submitting scans of
out-of-copyright books to the Arizona site?
https://www2.cs.arizona.edu/patterns/weaving/topic_lace.html

Thank you.

-Karen on the coast in Delaware, where we are having rain and strong winds
today. Always beautiful.

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[lace] Lace, Virtual lace classes

[Karen Thompson]

Hello all,
I realize I need to clarify my response to the virtual lace classes.
  As a student, I have a large monitor, such as a desktop, laptop, or iPad
in front of me to watch the demonstrations, and for the teacher to see me.
Then I have a second camera, such as a phone, mounted over my lace
pillow so the teacher can follow what I am doing, and give
instant feedback.
Hope this helps.
-Karen

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[lace] lace, Virtual lace classes

[Karen Thompson]

Some of my random thoughts on virtual lace classes: Having both taught and
taken several virtual lace classes, I think they are here to stay.  There
are both positives and negatives as with most things in life.  I like that
people can join from anywhere in the world without the expense and time of
travel. It is a way to learn new lace techniques while being forced to be
apart due to the Coronavirus. Quite a number of people have some extra time
on their hands due to the lack of commuting and travel and are eager to
learn something new. It is great to be able to socialize virtually until we
are able to do so again in person.  Many of us have an abundance of
supplies that we don't have to pack up and hope we can get on board a
plane. We just have to pull them out and get ready for class.   As a
teacher, I prefer teaching in-person and being able to demonstrate
new techniques in front of the students and helping them on their pillow,
but demonstrating under a good camera works quite well and can be repeated
as many times as needed. Also as a teacher, I prefer the students having a
camera mounted over their lace pillow so I can see what they are doing and
give real-time feedback. We have had several successful classes for total
beginners in bobbin lace and many of them have communicated that they are
continuing to make lace. I feel the class sessions should be 2-3 hours long
with a break. It seems more tiring to be sitting in front of a computer
screen than being in a classroom.  The price of virtual classes can be much
lower as there is no travel, hotel, and room rental cost.
-Karen

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Re: [lace] Lace, Virtual lace classes

[Karen Thompson]

Antje and other potential virtual teachers,
I like to keep the virtual classes very small, 4-6 depending on their level
of lacemaking skills.  You can have the students send photos or have them
scare their screen. Then you can annotate but that all takes extra time.  I
teach on Zoom and use "spotlight" to watch each student in turn, like
walking around the classroom. For the beginners, I have them use bright
colored threads, so I can say "the red pair, etc."  which helps a lot.   If
the threads are all the same color, it is pretty much as you say "take the
second pair on the left and pull very slightly to the left... no, not so
strong... a bit further up!!..."  It is a bit crazy.  Having good, clear
diagrams helps a lot, and demonstrating with large threads and pins also
helps.   Virtual teaching is different from in-person teaching but a lot
better than no teaching at all as far as I am concerned.  I practice by
logging into a second device from a different email account so I can see
what the students see.  In Zoom I have bought a subscription so I can stay
on for more than 40 minutes at a time. Some lace guilds here have invested
in that, so their members can use the account for teaching.  Since we are
all interested in promoting lacemaking, we need to adapt.  The virtual
classroom is especially good for introducing younger students to lace.


-Karen on the Atlantic coast in Delaware, USA.


>
>
>
>

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[lace] Tønder Lace Festival

[Karen Thompson]

Just received my digest.  I am wondering if anyone here will be attending
the Tønder Lace Festival in Denmark this year? It is the first weekend in
June.
I plan to be there, hoping COVID will not stand in my way.  Regretfully, I
will be missing you at the IOLI Convention, as I will be teaching my
classes virtually from home.
-Karen on the Atlantic Coast in Delaware

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