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Syracuse University Art Galleries Arr Syracuse University Art Galleries arr BASED ON THE MARIAN POWYS "HISTORY OF LACE" COLLECTION OF THE SYRACUSE UNIVERSITY ART COLLECTION SEPTEMBER 26 THROUGH OCTOBER 31, 1982 Syracuse University Art Galleries JOE AND EMILY LOWE ART GALLERY SIMS HALL SCHOOL OF ART COLLEGE OF VISUAL AND PERFORMING ARTS SYRACUSE UNIVERSITY, SYRACUSE, NEW YORK 1J1nrtUlorb: rkuuwlebgrmrttls It is with great pride that I join the faculty of the Syracuse University graduate museology program and the staff of the Joe and Marian Powys' "History of Lace" collection was donated in 1965 to Emily Lowe Art Gallery to welcome back Nancie Ann Balun, a graduate the Syracuse University Art Collection at a time when lace evoked of the program, in a professional role as curator of the "Design in, little popular or scholarly interest. Subsequently, the collection Lace" exhibition. has never before been properly exhibited. It is the only lace col­ We are also pleased that Ms. Balun was able to develop the exhibi­ lection at Syracuse University, and it is most befitting to have this tion by utilizing lace from the SU Art Collections, further demon­ exhibition on Marian Powys' centennial birthday. The exhibition is strating the quality and diversity of the collections. comprised of selections from the Marian Powys "History of Lace" col­ In addition to thanking Nancie Ann Balun for her fine work in lection and from Peter Powys Grey's private collection of laces de­ curating this exhibition, I would also like to express appreciation signed and executed by Marian Powys. to Peter POwys Grey for lending several lace pieces from his private Of the 49 laces in the Marian Powys collection, some of which are of collection and for his financial support. A special thank you is similar design, workmanship, and function, 41 were selected for the also given to the Quaker Lace Company, Colgate university, and Mr. exhibition to illustrate, chronologically, the stylistic developments and Mrs. Fred Warren for contributing to the exhibition. of lace design. Made between the sixteenth and midnineteenth centuries, Finally, "Design in Lace" could not have been possible without the collection represents the great lace-producing countries of Italy, the support of Professor Donald M. Lantzy, dean, College of Visual Belgium, and France, with a few examples from England, Spain, and and Performing Arts; Professor Rodger Mack, acting director, School Russia. The laces designed and made by Marian Powys represent lace of Artj and Dr. Alfred T. Collette l Director, SU Art Collections. designs of the early twentieth century and illustrate Art Nouveau and Art Deco styles. The exhibition and accompanying catalog attempt to show the rich Joseph A. Scala contribution that lace and lace designs have made to the history of Director art. Many of the designs are splendid examples of the art of the Syracuse University Artpainter, Galleries the printer, and the engraver. At the same time, these laces provide us with a look at the history of clothing, accessories, in­ terior design, and decorations. Each lace design potentially holds insight for the student of design, the artist, the craftman, the art historian, and human society. It was over a century ago that the Metropolitan Museum of Art organi­ zed the first permanent lace collection for public display. Yet, since the late nineteenth century, few American scholarly writings on the subject have emerged from museums and other sources. The earliest scholarly research on the history of lace was written in 1865 by the English curator, Mrs. Fanny Bury Palliser. Entitled A History of Lace, it emphasizes the technical, social, and economic history of lace and includes a most extensive list of lace design pattern books. It re­ mains the classic book on lace. In 1926, Marian Hague and Francis Morris, members of the then-prestigious New York Needle and Bobbin Club, published a five-volume catalog entitled Antique Laces of the American Collectors_ It was the first American systematic lace catalogue raisonn~and emphasized the techniques and the provenances of a superb collection of lace. In 1931, Alfred von Henneberg pub­ lished The Art and Craft of Old Lace, a most significant study because he attempted to systematically classify lace by ornament, texture, and technique. Within the study of design, a scholarly historical analysis of orna­ mentation also remains a relatively unexplored field of study. Indeed, 3 The divine madness of Marian Powys centered around a fixation that too few books exist which show the relationship between ornamentation lace was the finest of the visual arts. Painting, sculpture, "and all and the applied arts and architecture. However, most notable of the that," as she maintained in her regal fashion, depended upon color, books on ornamental design are those by A.D.F. Hamlin, A History of melodrama, allegory, and other incidental distractions, while lace, in Ornament (volume one, published in 1916 and volume two, published in contrast, retained a flexible integrity of line, monochromatic form, and 1923) and Joan Evans, Pattern: A Study of Ornament in Western Europe texture surpassed by no conventional masterpiece. from 1180 to 1900 (published in 1931). Bigotry, perhaps. But inspired bigotry. While a plethora of books exist to explain the numerous lace-making Born in a country vicarage in England, Marian Powys early chose lace techniques and to identify the more than 200 known lace styles, no one as her perverse vehicle with which to win freedom and financial indepen­ book exists to interpret in technically accepted terms the means by dence. There existed only an outside chance that a living could be made which historical and contemporary laces were made. Irene Emory's 1966 from the medium, but at least any endeavor in this area would not be study, The Primary Structures of Fabrics, is the best and most compre­ competitive with masculine preserves; in Victorian England, that was a hensive technical study of the components and classifications of prime consideration. Earning her living from these gossamer skeins of fabric structures. It is the first study to examine the most basic thread she did -- and well. structures of lace, but it does not include a comprehensive list of After study throughout Europe, Ms. Powys came to the United States lace-making terms. Therefore, the catalog list of the exhibition in~ in 1912 and opened her Devonshire Lace Shop in 1916. For more than a eludes the name of the lace-making technique. This has been made quarter of a century this shop sustained its status as New York's possible largely through the impressive lace knowledge of Jo Bidner and unique international lace exchange, dealing with museums, academic in­ her detailed but unpublished IILace Study Guide." The lace names or the stitutions, collectors, department stores, and even governments. Marian European lace appellations are due to the great lace expertise of Powys became known as the premiere designer and maker of lace in her Marian Powys. era, also serving as consultant to numerous museums. A spell-binding Lace is a many-faceted, still unsystematically documented field of art. Syracuse University Artlecturer Galleries on her chosen topic, she also authored a definitive book on This catalog is an attempt to explore lace design, one of the many the subject. facets of this delicate art. I want to especially thank the many people The present burgeoning interest in handmade lace as a major "art of whose generosity helped me to make this catalog and the exhibition as embellishment" owes much to her undaunted advocacy over the course of complete and accurate as possible. Among those upon whose help I relied decades of near-total disinterest. Her often reiterated determination the most are: Professor Stanton L. Catlin, adviser and friendi Jo that upcoming generations should be fully exposed to the startling Bidner, independent lace consultant and research assistant for the capabilities of the medium also led to the selection and donation to Costumes and Textile Department of the Brooklyn Museum, who taught me Syracuse University of a fine study collection of antique laces of lace identification and lace making and whose friendship and encourage­ four centuries. Fleshed out with other pieces, it is this collection ment helped me identify the numerous lace-making techniques in this that forms the core of the present exhibition. We can only hope that collection; and Marian'powys' only son, Peter Powys Grey, who graciouslY other donations will further fill out the permanent collection I in order gave me access to Marian Powys' personal letters, unpublished articles, to assure that Syracuse University eventually possesses one of the notebooks, and lace. Many people, through interviews and correspon­ finest academic collections in the country_ dence, helped me ascertain valuable information about the numerous Finally, let's not dismiss too hastily Marian Powys' fixation. For people in the ever-changing world of lace. These include lace collec­ lace, indeed, is one of the very finest of the fine arts. tors, lace makers, lace dealers, and lace historians. And, finally, I want to thank those who helped me with the exhibition while at Syracuse University -- Joseph A. Scala, Director of the Lowe Peter Powys Grey Art Gallery; Ruth Ann Appelhof, Curator of Exhibitions; Domenic Iacono, Registrar i Thomas E. Piche'; Cheryl A. Saunders; David L. Prince; Cynthia Martenson; Leonard Eichler; and the first-year museology stu- dents. Nancie Ann Balun Guest Curator 5 4 martnn 'uwya l Marian POWYs was a prominent lace historian, an established New similarity to the lines and forms of lace. York City lace dealer, and a noted lace maker and lace designer who In a rather ingenious and spectacular artistic display, Marian became one of the most prolific and versatile early twentieth-century Powys organized 200 laces to be exhibited at the New York City Tibor lace experts in the United States.
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