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Bobbin Lace You Need a Pattern Known As a Pricking
“Dressing” a Lace Pillow © Jean Leader 2014 pricking pin-cushion this edge should be a selvage if possible — the other edges lace in progress should be hemmed. cover cloth between bobbins and lower part of pricking cover cloth ready to cover pillow when not in use The pillow, a square or round piece of polystyrene (preferably high density) about 40 cm (16 in) across and 5 cm (2 in) thick, should be covered with a firmly woven dark cotton material. Avoid synthetic materials as these will attract dust and fluff. Cut a piece of material so that it is about 8-10 cm (3-4 in) wider than the pillow all round. Make a hem (with an opening) round the edge and thread either tape or elastic through it. Fit the cover over the pillow and pull the tape or elastic tight. (If you’re in a hurry just pin the cover in place.) This cover should be removed and washed occasionally. You will also need at least two cover cloths about 40 cm (16 in) square made of the same sort of material as the cover (they should be hemmed so no bits of thread can catch in the lace). One of these is placed over the lower part of the pricking and the bobbins lie on top of it. The other cloth is placed over the whole pillow when it is not in use so that the lace you’re working on stays clean. Making a Pricking In order to make bobbin lace you need a pattern known as a pricking. -
Hedgehog Lacers 20Th Annual Lace-In
Hedgehog Lacers 20th Annual Lace-In September 9-10, 2017 The members of the Hedgehog Lace Guild invite you to attend our annual lace workshop. We have a wonderful group of teachers offering a variety of classes. Classes 100 Chrysanthemum — All levels ~ Sylvia Fellows Chrysanthemum Lace is a tape lace that has some elements resembling Brugges Lace. It is characterized by the "Split Spider" stitch on one side of each tape. The "petals" formed can look like a chrysanthemum flower, a popular motif in this lace. It uses, usually, only 8 pairs of bobbins or less. 101 Milanese Lace — All levels ~ Louise Colgan Milanese Lace is characterized by special decorative stitches that become integral features of each design. The creative nature of this type of lace makes it suitable for both traditional and contemporary interpretation. A variety of projects will be offered to cover all levels of Milanese techniques. Students will be given the option of using colored threads to make their own unique pieces from the selected patterns. A solid foundation in basic Bobbin Lace skills is required. Diagram-reading skills are also recommended. NOTE: Continuing “Louise” projects are also welcome. 102 Tatting — All levels ~ Randy Houtz There are several methods and applications for tatting split rings. Class time will be spent examining a different technique and/or application: the basic split ring; woven split rings; adding a ring to the split ring; and adding rings to both sides are examples. Prerequisites: Students should be comfortable with tatting rings, chains and joins. It is helpful to know other tatting methods but not necessary. -
Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks
Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
A Working Vocabulary for the Study of Early Bobbin Lace 2015
A Working Vocabulary for the study of Early Bobbin Lace 2015 Introduction This is an attempt to define words used when discussing early bobbin lace; assembling the list has proved an incredibly difficult task! Among the problems are: the imprecision of the English language; the way words change their meaning over years/centuries; the differences between American English, English English and translations between English and other languages... The list has been compiled with the help of colleagues in Australia, Sweden, UK and USA; we come from very different experiences and in some cases it has been impossible to reach a precise definition that we all agree. In these cases either alternatives are given, or I have made decisions on which word to use. As the heading says, this is a working vocabulary, one I and others can use when studying early lace, and I am open to persuasion that different words and definitions might be better. 2015 Early bobbin lace - an open braid or fabric featuring plaits and twisted pairs, created by manipulation of multiple threads (each held on a small handle known as a bobbin); as made from the first half of the sixteenth century until an abrupt change in style in the1630s. Described in the sixteenth century as Bone Lace, also called Passamayne Lace (from the French for braid or trimming) or passement aux fuseaux. Reconstruction - a copy that, given the constraints of modern materials, is as close as possible to the original lace in size/proportion and technique. Interpretation - reproduction of lace from patterns or paintings, or where it is not possible to see the exact structure and/or proportions of the original lace Adaptation - taking an original lace, pattern or illustration and working it in a completely different material, scale or proportion. -
Ipswich Lace Workshop Materials Information
Ipswich Lace Workshop Materials Information Patterns, etc. provided to the students from the instructor: 1. Two Ipswich pattern packs of your choice. Please choose from the attached list. The samples are listed in approximate level of difficulty, with #2 being the easiest. 2. Prickings are printed on light grey cardstock and mailed to your snail mail address. 3. Color-coded working diagram 4. Corresponding pictures of the reconstructed lace and the original 1790 sample. Supply list: 1. Lace pillow, your preferred style for continuous lace, large enough to accommodate up to 50 pairs of bobbins 2. Bobbins (your preferred style) up to 50 pairs, depending on pattern choice 3. Pins – all the same size. The Ipswich lacemakers used handmade pins, which were approximately .60 to .65 mm in diameter. 4. Black silk thread, such as YLI 50, Clover 50, or Tiger (approximately 35-36 wraps/cm), or Piper spun silk 140/2 or Kreinik Au Ver a Soie 130/2 (42 wraps/cm) 5. Gimp thread: Gütermann 30/3 (S1003, 3-ply, approx. 16 wraps/cm) or Soie Perlee for a slightly thinner gimp. Or use 4-6 strands of your lace thread. 6. Two cover cloths. The one on the pillow, under the bobbins should be light color to contrast with the black threads. 7. Several short bobbin holders 8. Scissors, other regular bobbin lace supplies for continuous lace technique. 9. Wind on each bobbin about 4 times the length of lace you plan to make. Wind the number of bobbins indicated on your chosen pattern, singly or in pairs, depending on your preference. -
Bobbin Lace Retreat
Presenters Materials Needed Janet Lander, CSJ Threads Janet, a Sister of St. Joseph of Concordia, KS, has worked as a missionary and educator. She holds of Creation: A "cookie pillow" and at least 12 pairs of a Masters in Education from Mount St. Mary’s, bobbins are needed for beginning projects. Los Angeles and in Pastoral Ministry from Boston Pins, scissors, patterns, threads, etc. will be College, where she also completed a Certificate in A Contemplation available during the retreat. the Practice of Spirituality. She serves on the leader- Those with bobbin lace making ship Team of her Congregation and part-time on the of God’s Art experience will want to bring their Manna House staff. An artist as well, she took up the materials needed for projects they hope to do. craft of bobbin lace about thirteen years ago. and Ours Beginning bobbin lace makers may rent them for use during the retreat, Ronna Robertson or purchase them: Ronna has been active in the creative fiber arts for over 45 years. She took her first bobbin lace class in 1979 and has been teaching since 1983. Lace "cookie" pillow Ronna was instrumental in organizing the Lawrence ___ I wish to rent for $5 Lace Guild (KS) in the 1970s and the Appaloosa Lace ___ I wish to buy for $45 Guild (ID) in 1993. She helped start the semi-annual Kansas Lace Away weekends in 1988 which evolved Bobbins (12 pairs) into the Sunflower Lacers in 2005.Ronna has an MBA ___ I wish to rent for $5 with a focus on finance and accounting. -
Techniques Represented in Each Pattern
(updated) November 12, 2020 Dear Customer: Thank you for requesting information about my lace instruction and supply business. If you have any questions about the supplies listed on the following pages, let me use my 36 years of lacemaking experience to help you in your selections. My stock is expanding and changing daily, so if you don't see something you want please ask. It would be my pleasure to send promotional materials on any of the items you have questions about. Call us at (607) 277-0498 or visit our web page at: http://www.vansciverbobbinlace.com We would be delighted to hear from you at our email address [email protected]. All our orders go two day priority service. Feel free to telephone, email ([email protected]) or mail in your order. Orders for supplies will be filled immediately and will include a free catalogue update. Please include an 8% ($7.50 minimum to 1 lb., $10.50 over 1 lbs.-$12.00 maximum except for pillows and stands which are shipped at cost) of the total order to cover postage and packaging. New York State residents add sales tax applicable to your locality. Payment is by check, money order or credit card (VISA, MASTERCARD, DISCOVER) in US dollars. If you are looking for a teacher keep me in mind! I teach courses at all levels in Torchon, Bedfordshire, Lester, Honiton, Bucks Point lace, Russian and more! I am happy to tailor workshops to suit your needs. Check for scheduled workshops on the page facing the order form. -
Common Types of Lace
CAMEO: Conservation and Art Materials Encyclopedia Online at cameo.mfa.org Common Types of Lace Lace type characteristics examples characteristics needlepoint Expensive, handmade lace. The pattern is typically Venetian point Floral pattern with regular open-worked fibers sketched on parchment then stitched onto two pieces on linen. Solid parts are filled in by a needle. A knife is rose point Similar to Venetian point but made in Belgium passed between parchment and linen to release lace. point de Gaze) th First made in the 15 century. Alencon Designs include flowers, birds, and vases. Background is hexagonally shaped mesh of double-twisted thread pillow An inexpensive, but fine quality lace made by twisting Cluny Coarse, strong, distinguished by paddles or wheels (bobbin) and knotting treads into pattern. Intricate patterns can use up to 1000 bobbins. Invented by Barbara Uttman in Chantilly Delicate lace made in silk or unbleached cotton with double ground. Germany in 1561. Patterns include vases, baskets and flowers. Torchon Stout, simple, inexpensive patterns. Coarse ground with loosely woven threads. Called beggar's lace Maltese Characterized by geometric designs like Maltese crosses and wheat stalks Valenciennes (Val) French Val uses a diamond shape background and very intricate patterns. Brussels Fine lace. Ground is worked around previously made pattern Mechline Delicate lace with fine threads. Ground pattern woven with flowers, buds. Similar to Brussels Honiton Beautiful designs made in flower patterns (thistle, rose) on a net ground Duchesse Fine, net ground with raised work patterns crocheted Handmade with crochet hook; not as fine as needlepoint Irish Many patterns made with crochet hook with coarser thread than needlepoint lace. -
Lace, Its Origin and History
*fe/m/e/Z. Ge/akrtfarp SSreniano 's 7?ew 2/or/c 1904 Copyrighted, 1904, BY Samuel L. Goldenberg. — Art library "I have here only a nosegay of culled flowers, and have brought nothing of my own but the thread that ties them together." Montaigne. HE task of the author of this work has not been an attempt to brush the dust of ages from the early history of lace in the •^ hope of contributing to the world's store of knowledge on the subject. His purpose, rather, has been to present to those whose rela- tion to lace is primarily a commercial one a compendium that may, perchance, in times of doubt, serve as a practical guide. Though this plan has been adhered to as closely as possible, the history of lace is so interwoven with life's comedies and tragedies, extending back over five centuries, that there must be, here and there in the following pages, a reminiscent tinge of this association. Lace is, in fact, so indelibly associated with the chalets perched high on mountain tops, with little cottages in the valleys of the Appenines and Pyrenees, with sequestered convents in provincial France, with the raiment of men and women whose names loom large in the history of the world, and the futile as well as the successful efforts of inventors to relieve tired eyes and weary fingers, that, no matter how one attempts to treat the subject, it must be colored now and again with the hues of many peoples of many periods. The author, in avowing his purpose to give this work a practical cast, does not wish to be understood as minimizing the importance of any of the standard works compiled by those whose years of study and research among ancient volumes and musty manuscripts in many tongues have been a labor of love. -
The Complete Costume Dictionary
The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward. -
Bobbin Lace 101 Introduction Welcome to Bobbin Lacemaking! Bobbin Lace Is an Art Form That Originated in 15Th Cen- Tury Europe
Bobbin Lace 101 Introduction Welcome to bobbin lacemaking! Bobbin lace is an art form that originated in 15th cen- tury Europe. Today, hobbyists around the world continue the tradition. Bobbin lace is a type of off-loom weaving. We use bobbins to manipulate the thread and to keep ten- sion on the work. As it is made, the lace is secured to a pillow with pins to provide structure and support. There are many different styles of bobbin lace with widely dif- fering appearances. Today we will begin to learn Torchon lacemaking. Torchon is a coarse, strong, continuous, grounded lace characterized by geometric patterns, and it is Lacemaking beaver from The Hunting of the Snark usually worked on a 45° grid. It was used by the middle class for edgings and insertions. The Two Elements of a Bobbin Lace Stitch Bobbin Lace Stitches Head Cross Bobbin 2 over Bobbin 3 C = Cross Left over Right Neck T = Twist . = Pin Cloth Stitch CTC Half Stitch CT Whole Stitch CTCT Torchon Ground CT.CT Spangle Dieppe Ground CT.CTT Midlands Bobbin Twist Bobbin 2 over Bobbin 1 : Bobbin 4 over Bobbin 3 Right over Left The Hitch Put the vertical Make a letter P part of the P in with the thread front of the head Wind the loop of the P around the top of the head twice. Wind away from yourself. Passives vs. Workers Pinch the hitch gently with your left hand to hold it on the bobbin, Passives = warp threads—many pairs—hanging down and pull the descending thread Workers = weft threads—moving across with your right hand to tighten it around the head of the bobbin.