Does anyone have a contact for Diane Derbyshire?
Devon
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Thanks to Jane Partridge and Adele Shaak for their replies to my conundrum.
Adele is correct that Regency lace had no gimp on the outside, but did have
gimp on the inside around little holes. I have always thought that this showed
a preview of what would be later tried in Bedfordshire Maltese.
Thanks to all who responded with helpful hints regarding my request for access
to the museum of Halas lace, and also Arlene Scaroni.
On another note. I have encountered a lace in the Met collection which is a
point ground without any gimp.
https://www.metmuseum.org/art/collection/search/214651
Dear Arachnids,
As perhaps some of you know, I am the âcreative directorâ of the Lace
Lectures series which is presented by the International Organization of Lace.
I am trying to contact Arlene Scaroni in reference to a presentation on the
Spiro Mound lace.
I am also trying to contact the
Dear Ursula,
Thank you so much for these references. Although I had looked for a lace
museum in Nuremberg, I had not found this lace museum, nor had I understood
how important the lace school in Nordhalben was both historically, and in its
relation to the Deutsche Kloppelverband.
I think I may
I have encountered some pieces of lace said to have been made in Nuremberg in
the 18th century. I donât know anything about Nuremberg lace production.
There is something in Palliser about German production. She claims that â A
museum has been lately formed at Nuremburg for works and objects
Loreleiâs family have been very generous in transferring ownership of a
great amount of lace items to the IOLI. The IOLI has assumed responsibility
for the Ning site and transferred it to the LaceIOLI.org site. Unfortunately,
the person who was working on the site had to move and has not
Dear Nancy, Arlene and fellow Arachnids,
I was also puzzled by the claim that there are four great lace collections and
wondered what they were. I had it in mind to contact the Wall Street Journal
writer and ask her to tell me. However, I imagine this was information
contained in a press packet
I second Sue. Thank you for all your scholarship and sharing.
Devon
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Dear Carrie,
There has been a wonderful development during the pandemic. The Lace Museum in
Sunnyvale, CA has perfected the art of the online lace class. You take it
using two devices, for instance your computer and your smart phone, the smart
phone positioned over your pillow so that the camera
Gentle Spiders,
I have been told that I should have cataract surgery. There are many options
in cataract surgery and I donât know that I understand them all. According
to the doctor, I can have the inexpensive and largely insurance subsidized
surgery in which I will have âbasicâ lenses
About 20 years ago I received a question about whether lace was being made in
Colonial Spanish America. I did not know the answer. I asked a curator at he
Hispanic Society. He didnât know, but he said it was very likely because the
Spanish tended to set up these industries in their colonies. I
Could Laurie share with us a bit of the discussion about why this is obviously
not bobbin lace?
Devon
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Dear Janice,
I think the best photos would be the ones that are in the catalog, which will
be available from Amazon for $30.00. Those people attending the opening and
visiting the exhibit might like to buy the catalog from the museum to show
support for them taking the risk of holding an exhibit
Dear Alix,
Lorelei posted a photo of a piece with false plaits. That is what you saw that
you correctly identified as modern bobbin lace. The second set of photos which
you said was needle lace, but very distorted, is the Milanese lace that
perfectly resembles mezzo punto, that I am referring to.
Yes, it was âA Womanâs Faceâ.
>From the various write-ups, it sounds like there isnât any lacemaking in The
Lacemaker, but I could be wrong.
Are there any other ideas for a movie night at a lace retreat?
Devon
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It is about Elena Kanagy-Loux. The article appears in Bust Magazine. Debbie
Stoller, also an Arachne member and Brooklyn Lace Guild member is the editor
of Bust and wrote the article.
Elena demonstrated yesterday at the Brooklyn Museum as a representative of the
Textile Arts Center. She posted a
Vis a vis the catalog for Lace, not Lace. I am including Veronika Irvine in
the show, and her interesting mathematically derived 21st century grounds.
However, as I was scrutinizing Pierre Foucheâs work, Judgment of Paris II,
which is also in the show, I realized, with his help, that the ground
I am receiving messages from me like this as well. Any suggestions from our
more computer literate members about what is happening or how I could fix it?
Devon
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From: Jay Ekers
Sent: Tuesday, May 8, 2018 9:22 AM
To: 'DevonThein'; 'Arachne'
Subject: 'Clifhangers
Vis a vis the catalog for Lace, not Lace. I am including Veronika Irvine in
the show, and her interesting mathematically derived 21st century grounds.
However, as I was scrutinizing Pierre Foucheâs work, Judgment of Paris II,
which is also in the show, I realized, with his help, that the ground
Thanks to a reply sent only to me, I have had my attention drawn to the quote
in the Dover edition of Palliser (1914) on p. 417 âThe versatile Japanese
have copied the Honiton method of makin gbobbin lace. The Government have
encouraged a school at Yokohama for pillow lace making, under the
As I am writing the catalog of Lace, not Lace, a lot of questions come to mind
and I realize how little I know.
I am under the impression that there was a period of time, possibly still
continuing, where Japanese women became interested in bobbin lacemaking, and
were taking lace tours of Belgium
I am trying to write the catalog of the exhibit, Lace, not Lace. One of the
artistâs, Penny Nickels, uses a ground that resembles a laid grid in an
exciting way to create perspective.
Would I be correct in saying this is a distinctive feature of 19th century
needle laces? Would it be accurate to
Does anyone know how to contact either Geraldine Stott, or Bridget Cook? I am
interested in reproducing a page from one of their books in the Lace, not Lace
catalog. There is an artist in the show whose work is based on and influenced
by their work.
Devon
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Dear David,
This is distressing to hear. I have started a gmail account specifically to
engage with Arachne. It is sometimes the case that I get over excited and
respond from my AOL account. But, I had thought that I was quickly sending a
duplicate post from the gmail account when I realize I
I am looking at a piece in our collection. It says it is early 19th century
Belgian lace, Mechlin.
The background is Mechlin, but the Mechlin ground is widely spaced, like a
19th century Mechlin. One curious thing is that there is a ground that at
first looks like honeycomb. But, in fact, it is
I was at an Arachne gathering at the Salt Lake City IOLI Convention and I
realized that many of the younger members were computer gamers and some of
the older members seem to have been part of the Dungeons and Dragons crowd. I
found myself wondering if the founding of Arachne had occurred because
I was not among the first group to be part of Arachne. Instead I had been
hearing about it for a while from people like Penny Boston, who is no longer
on it, before I managed to become a part of it. How did it actually start and
what was it like in the early days?
Devon
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Gil says <>
This reminds me that I was at a show at the Morgan Library not long ago where
there were some 14th century Indulgences on display. These were the things
you could buy in the medieval world in order to shorten your time in
Purgatory. There were some braids on them that I thought might
<>
This may have to be in the catalog. In some case where there is a clear
antecedent I am hoping to show an example in the catalog entry.
Devon
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Catherine writes: Devon also mentions that Jill uses weaving techniques in her
works but this technique is the main distinguishing feature to be found in
Halas lace also.
Yes, needle weaving is used in Halas lace. Also, I think is some very early
laces. But, now that I am thinking about it, I am
Dear Catherine,
I am truly grateful for the time you have spent on this.
Be assured I am asking the artists for their statements about the works.
It was the superficial and often misinformed treatment of lace by the
mainstream press that made me wonder what it would be like if someone who
actually
Regarding Alexâs insightful comment, I have to say that I go back and forth
about color in lace myself. On the one hand, I like color. On the other hand,
the palette of lace making is texture and pattern. When you are using pattern
and differences in density for your palette you tend to use the
Thank you, Jeri for drawing my attention to this interesting tome. I actually
own it, a facsimile of the 1882 version published in 1972. I have virtually
never thumbed through it. I must have bought it close to 1972 when my
interests and goals were very different than today, and having once
I received this privately, âYou asked if bobbin and needle lace had anything
in common, once the original look-alike aspect had diminished? Thinking
about this, I thought Iâd consult Jack Lenor Larsenâs âInterlacedâ, as
an accepted authority, but of course needlelace doesnât figure
Catherine writes< Surely ALL needlelace is worked by the execution of the
simple buttonhole stitch. if not, what other stich is used to work examples
of Ros Hills, Contemporary needlelace, Bath's needlelace, or antique laces
such as Point de Gaze, Hollie Point, Burano, Halas, Alencon, Youghal,
I find it staggering to learn that Pat Earnshaw didnât make lace. Although I
suppose it is possible that you could draw stitch diagrams from observation,
the Merehurst Embroidery Skills book Needlelace has a great many photographs
of the stitches and the processes which is part of its charm. Did
Cynthia makes an interesting observation, that in 1974 needle lace was
considered needle-work or embroidery.
Do you think it would be an accurate observation that the early contemporary
needle lace books from the 1970s, such as Jill Nordforsâs Needle Lace and
Needle Weaving and Bathâs book,
Thanks to Doris for her observation about the cover of Virginia Churchill
Bathâs book. I have this book, published in 1974 by my side. (I am now
reading these books as historical documents of the 1970s lace revival, whereas
I first read them as contemporary âhow toâ books.)
Does anyone know
I am writing the catalog entry for a piece of lace by Agnes Herczeg. Herczeg
said in an interview that she admired the work of Arpad Dekani, the first
designer of Halas lace, a Hungarian needle lace industry started in 1902. As
part of my theory that todayâs lace artists draw inspiration from
Janeâs point about historic lace in color is well taken. In fact, I was
privileged to take a tour of Spain in which we learned Frisado de Vallodolid,
and also saw practically all the pieces in Spain. This lace which was made in
the 16th and 17th centuries exclusively by nuns for church use was
Nancy writes: But needle lace and bobbin lace deserve to be treated together,
in a show such as yours for example, because of the first point above, and
because they are functionally similar enough (in spite of fundamental
structural differences) that they can be combined harmoniously (Duchesse
Dear Jane,
Thank you for this long explanation of the origins of your mother, Pat Read
and Lucy Kincaidâs book Milanese Lace: an Introduction.
The linkage with the Maidmonts confirms one of my theories, that there were
various linkages to the early 20th century lace revival in the lace revival
Catherine asks< Is there anyone out there who makes/teaches fine white
traditional needlelace?>
Carolyn Wetzel and Laurie Waters are both traditionalists. Although I do not
teach, I have spent an inordinate amount of time looking at old laces and
admiring them. I love Catherineâs books and have
Speaking as the editor of the facebook page of the International Organization
of Lace, Inc., I can confirm that Facebook is being eclipsed by Instagram for
younger lacemakers. I joined Instagram at the first meeting of the Brooklyn
Lace Guild when I realized I would be totally out of the loop if I
Doris writes: An article about fiber art in last Sundayâs NYTimes Style
Magazine titledâA SINGLE THREADâ cited many artists and textile techniques
âknitting, weaving, crochet,embroidery etc.-but was disappointing in that
there was no mention of lace and lace artists.
I think a very sharp
Lorelei says that â As for lace being white and having holes in it - my
personal definition has
to do with transparency or partial transparency and white just doesn't
matter. (Although white or a solid color focuses the attention on the
transparency aspect.)â
I have been fortunate to
Well, this is exciting. The exhibit is controversial!
The title, Lace, not Lace was meant to refer to the fact that the public
considers anything that is white and has holes in it to be lace. But, the
purpose of the exhibit is to show pieces made in bobbin and needle lace
techniques and includes
Kathleen writes:
I think Nena wrote the needlelace books because she wanted the lace revival to
include needlelace. There were already several bobbin lace books around, but
none on needlelace at that time. I think that needlelace was her favourite
craft!
I am trying to write the catalog for the
If you watch a 17 minute interview with Maggie Hensel-Brown
https://www.youtube.com/watch?v=RsO5wICsojY conducted by Angharad Rixon,
proprietor of Textile Support and the genius behind The Doily Free Zone, you
will see that she credits a class with Margaret Stephens with setting her off
on her
Oops.
Sorry, Madame Laurie. Canât wait to see your articles. Everyone save our
lobster claws.
Needle lace lives!
Devon
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Catherine writes: Is there no one out there who makes beautiful fine white
needlelace and who can pass on these techniques for the benefit of future
generations? I have done my level best over several decades, travelling many
thousands of miles both here in the UK and overseas to pass on my
Lyn feels that there was very little official fostering of crafts in the US,
as opposed to England, and I think she may be right. Most of these crafts are
not considered heritage items in the US. (Maybe quilting is.)
One thing that is mentioned in Andrea Plumâs article was that there were a
lot
Jeri brings up another example, that of Louisa and Rosa Tebbs, and Nenia
Lovesey, that shows a linkage between the early 20th century lace boom and the
one in the 1970s. My sense is that there were just enough people left over
from the early 20th century lace enterprises to seed the 1970s lace
You would think that someone had written about the Craft revival of the 1970s,
but when I search for this topic, only one article comes up, by Andrea Peach
called Crafting Revivals? An investigation into the craft revival of the
1970s: can contemporary comparisons be drawn? She has made it
Yes! You are correct. It was Knyppling. I couldnât remember what it was,
even though I picked up a copy at an estate sale fairly recently.
Devon
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Jo raises some interesting insights.
One thing she mentions is the crafts to leisure aspect. Originally there
seemed to be an ethos that one was practicing a âuseful craftâ. For
instance, you made a quilt because you needed a bed covering, or a doily
because every well kept house required
Thanks for mentioning the Torchon Lace Company and the Princess lace pillow.
I would relate this to the early 20th century lacemaking ideas which included
trying to make lace for money, rather than leisure. Examples include the Sybil
Carter missions and Italian Lace School (cut work). But, surely
Yes! Thanks. I just looked it up. 1987. I think Trenna Rufner was also
involved in the lace postage stamps.
Devon
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Lyn made a comment, that perhaps only I got, that she thought that the Back to
Earth movement had a lot to do with it. She discounts the Bi-Centennial.
However, there was a huge call for crafters during the Bi-Centennial. I
participated in the making of a quilt to commemorate Rockland Country (New
<< Shortly after I started in England in 1971 I bought a copy of Maidment
Bobbin Lace Work printed in 1971. >>
So interesting to see this cluster of books being published and republished in
the 1970s. But why?
Devon
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Lyn makes the point that airfare was getting cheaper so that there would have
been more exposure to lace. In fact, the first time I saw it was on a vacation
trip to Bruges probably in the late 1960s. I was an adolescent, and there were
girls my age making lace by the canals.
I have always thought
Where did Doris Southard learn to make lace, or how?
Devon
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Adele makes the interesting point that it wasnât until the 1970s that it
began to be possible to buy books published by mainstream publishers about how
to make bobbin lace.
She observes that her lace club actually started in 1955 but had huge
impediments due to the lack of instruction and
People are contacting me privately with observations which are very
interesting.
One correspondent believes that post war immigration of Europeans to the US
was a factor in the development of lacemaking here.
This is an interesting observation because there were a number of people who
were major
Sue, your observation about taking a class in an adult school in England is
interesting. I think there was more of that in Great Britain than in the US at
the time. But, Holly van Sciver took an adult school class in England while
there for a college semester abroad. Eventually she was a large
I am attempting to write a catalog for the Lace, not Lace: Contemporary Fiber
Art from Lacemaking Techniques.
The exhibit will include the work of Ros Hills, Lieve Jerger, and Jill
Nordfors Clark who I consider to have begun their activity during the lace
revival of the 1970s. If I were to try to
Thanks to all who responded. I have the article in Lace 98 and it is very
interesting.
Devon
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ââStoriesâ from the archive include Harry Crossâs drawings from the
Battle of Britain panel, and NTU alumnus William Peggâs shift from award
winning designer of lace to expressing his socialist beliefs through this
medium.â
I would like to hear more about how William Pegg expressed
Loreleiâs query about fashion history books is a good question. The problem
encountered by the lace historian is to try to figure out what all these
pieces of lace in museum collections started out trying to be. It is very
vexing, and I wish I understood the topic better.
I have found the books
The director of the Hunterdon Art Museum asked me this the other day, and I
did not know the answer. She wants to include didactic material about the
history of lace in the exhibit.
Devon
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Dear Sue,
A similar question was asked by Alice earlier in the week. I put it to the
Director of the Hunterdon Art Museum and this was her answer.
âWe keep very good records of every donation - how much, from whom, etc.Â
The Museum has software specifically for tracking donations. It's
Since Jeri has asked to have people share newspaper articles, here is one that
appeared in the Wall Street Journal.
https://www.wsj.com/articles/lace-takes-a-modern-turn-in-interiors-1518798031
The author took a bobbin lace class with Brooklyn Lace Guild co-founder Elena
Kanagy-Loux in Manhattan
While researching lace tells for St. Catherineâs Day, I came across, again,
the similar usage in the Shakespearean quote:
O, fellow, come, the song we had last night.â
Mark it, Cesario, it is old and plain;
The spinsters and the knitters in the sun
And the free maids that weave their thread
Fellow Spiders,
In response to Jeriâs request, I would like to share my excitement about the
exhibit Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques. As
the Lace Study Editor of the Bulletin of the International Organization of
Lace, I have been writing reviews of any and all
Elena,
I already put it on the BLG facebook page.
Do you have ways of reaching out to the FIT community?
Devon
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From: Elena Kanagy-Loux
Sent: Wednesday, February 14, 2018 8:25 AM
To: Angharad Rixon
Cc: lace@arachne.com
Subject: Re: [lace] #lacesupport2018
That is
Dear Lorelei,
Thank you for all these links. Yes, those are what I would consider
Pottenkant!
The piece I am talking about has a flower pot on it. But the technique is
totally weird. It may be Pottenkant because it has a flower pot on it, but I
think there is some additional descriptor that would
Dear Lorelei,
And I must voice my usual response that I am not at liberty to share better
photos over the internet. I will send you some privately, for study purposes
only, and not for publication.
It is not a part lace.
Devon
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There is a puzzling piece in our collection. It is a flower basket. The cloth
work is dense linen stitch. The background is entirely half stitch. I KNOW
that someone has told me that this is some special, recognizable form of lace.
But, I donât recall what they told me. The information, which I
I saw the question.
A year or two ago the Met had a Vigee LeBrun exhibit. She was the artist who
painted the French aristocracy right up to the Revolution and even beyond, as
she also fled. I thought it would be interesting to have a viewing of lace
such as in the paintings. Most of it was
Not to argue with the general premise that Mrs. Lakeman was entitled to make
point ground on a Ipswich pillow. But she must have had two pillows because
Jeri acquired hers in Hallowell, Maine. Inquiring minds want to know more
about this. It canât be a co-incidence.
Devon
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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.
Nancy writes:
I don't have any
place to post something myself that would be easy to get to, and I don't
think Devon does either.
Actually, I am the editor of the IOLI facebook site, so I could post the
photos on there. This is available to everyone who is on facebook, which is
quite a lot of
I am taking comfort from the following on the site mentioned by Liz:
3. Personal and household effect exemption It should also be noted that the EU
Wildlife Trade Regulations contain less strict provisions for trade in
specimens that are considered as personal and household effects. The carrying
Sorry for the duplicate posting, but I realize I sent this from the AOL
account, not the Gmail account by mistake so many people will not have seen
it.
Thank you so much for this, Karen. The pictures of the lace, which you say was
made in the 1860s, but on an earlier pattern and equipment do not
 From 6:30 to 9:30pm. Itâs a great opportunity to try your hand at
lacemaking for the first time, or to refresh your memory! Sign up at the
link:Â https://campscui.active.com/orgs/TextileArtsCenter
Devon
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Elena Kanagy-Loux will be teaching beginning and continuing bobbin lace at the
Textile Arts Center in Manhattan on Dec. 6. If you know anyone who would like
to start bobbin lace in the New York area, why not suggest this to them. There
will be a reporter there who is writing about bobbin lace.
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Many thanks to all for the advice on Cattern Cakes. I started out with a sheaf
of recipes and a transcript of the Arachne comments, incorporating all of them
into one attempt. You can see the results on the International Organization of
Laceâs I facebook page, as I took photos all along the
of us being able to write our names at the end of a year.
Devon
Sent from Mail for Windows 10
From: Diana Smith
Sent: Tuesday, November 21, 2017 6:15 PM
To: DevonThein
Cc: Arachne
Subject: Re: [lace] Work the old lady out of the ditch-lace tell
How they kept count? - I think this might be where
What does it mean to work the old lady out of the ditch? I seem to recall that
it had something to do with working the worker through the edge. But is that
all? In Running River that would mean a catch pin, two linen, the edge stitch
and bac through the two linen.
Or does it mean work the entire
I really like these lace tells. From what I am reading, it would appear that
the beginning of the 19th century was a good era for lace tells. The comment
about men making lace as more profitable than agricultural labor is startling.
But, the beginning of the 19th century was reputedly very good
The Brooklyn Lace Guild would like to have a riotous debauch on St.
Catherineâs Day and have looked to me for guidance about how to plan it. Has
anyone ever celebrated St. Catherineâs Day with their lace group and what
advice would you offer?
I have been researching recipes for Cattern Cakes.
I think of invisible joins as being most necessary when something is going to
be viewed from both sides like a handkerchief. But, wouldnât the knots be on
the inside of a crown, where the hair is?
Devon
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Is there some reason why you wouldnât just finish it normally and sew it
together with a needle?
Devon
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Here is the original email.
Devon
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From: Jeri Ames
Sent: Wednesday, October 4, 2017 2:16 PM
To: lace@arachne.com
Cc: devonth...@gmail.com; suebabbs...@gmail.com
Subject: Re: [lace] Samplers Exhibition at the Fitzwilliam Museum Cambridge
(Someone please acknowledge
If Jeri would like to send her emails to me via my gmail address with the
notation that I should forward them to Arachne, I would be happy to do this.
Devon
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From: N.A. Neff
Sent: Wednesday, October 11, 2017 2:10 AM
To: lace@arachne.com; jeria...@aol.com
Subject:
Thanks, Jeri.
Sent from Mail for Windows 10
From: Jeri Ames
Sent: Monday, October 9, 2017 12:33 PM
To: ann.humphr...@talktalk.net; lace@arachne.com
Subject: Quaker samplers from Ackworth, Doing Research at Museum Sites
Thank you, Ann. Â I had asked for someone to respond to my memo dated
I ran Kant through the collection search and this was the result
http://erfgoedinzicht.be/collecties/?q=kant=gallery=horizontal
It says there are 1342 pieces of lace, although this may be in different
museums. I donât recall that the lace at the Flax museum was all that
exceptional, though.
Jean Reardon wrote: I wonder if, what with modern technology, that chart has
been translated to
electronic format or published in some form so it is available to those who
are unable to drop into the Linnenmuseum for a visit? I'm sure a lot of work
went into creating it. It would be such a shame
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