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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. -
Tom Fisher, Julie Botticello, Nottingham Trent University, Nottingham, United Kingdom
Tom Fisher, Julie Botticello, Nottingham Trent University, Nottingham, United Kingdom. [email protected] 3D Representations of Heritage – understanding the Leavers lace machine through documents, ethnography and animation The lace industry in the East Midlands of the UK was a major feature of the local, and wider, economy from the invention of the ‘Leavers’ process in 1813 to the end of mass manufacturing of lace early in the 21st century. The industry grew out of innovations in machine knitting technology that date back to William Lee’s invention of the stocking frame in 1589. In 1816 it was exported to northern France, under conditions of trade embargo, where the industry grew in the towns of Calais and Caudry. In both Nottingham and northern France it generated parallel industries in machine manufacture and textile finishing. Three firms survive in the UK, and one of these is Cluny Lace in Ilkeston, near Nottingham http://www.clunylace.com . Although the industry has shrunk from approximately 2600 machines in the first decade of the twentieth century to the 16 that remain at Cluny Lace, this important part of the region’s industrial heritage does survive. Working closely with the company’s owners over some years, researchers at Nottingham Trent University have conducted research since 2009 to understand this heritage and effectively represent it as the important element in the region’s identity that it is. Collaborators in this work have included the Victoria and Albert Museum in London, as well as Nottingham’s City Museums and Galleries, which has some examples of Leavers machines in their Industrial Museum collection. -
REAL LACES by Bright They Not Over- Or of STESCWRAPHKR.- Ywnglady- Why Do Wsvtsjr Takes Place and the Swirl and Crash Cease
8 XEW-YOKK DAILY TRIBUNE. SFXDAY. JAXUAKY 27. lOOT. r,OOP«. DRY GOODS. i>ky i.oon« DRY WOMX TTWTT.D. t POWER OF TIDES. tcnui.. STUPENDOUS and — STENOGRAPHER TYPEWRITE? We Sell More Two years' experience: quick and rat<». Misa P.e.labie. fit*n,h .st BrooklyrTaccol properly, armistice, of fore undoubtedly to some cosmic cause, .. regnum, or, more slack duo REAL LACES By bright They Not Over- or of STESCWRAPHKR.- ywnglady- Why Do wsVtsjr takes place and the swirl and crash cease. such as a submarine earthquake eruption Any WUI take beginner-* place, with Thin Otter Store for advancement, Hsues, 731 Amstacdaigjchan\S AllIs still, save for the crackling of congelation a deep sea volcano. Yet in certain lonely out- | la whelm Allof Man's of-the-way the sea, such as Ascension. Aye. St., N. America. as the half frozen sea strives to become solid. isles of Mail Orders Filled. 6th &23d Y. STKXOOnAPHi-.,:. erßce; a'-.lstant: Thtn comes the call of the ebb. There Is a St. Helena and Tristan d'Acunha, there occurs ncr; shorthand, bookkeeping, doublebe»>Zi Puny Ships. single entry, typewriter; would gentle seaward, partial con- at irregular Intervals a shoreward rush fcou?e; like mi movement and the sudden chance in reliable not afraid a* gelation ceases, the disunited masses begin to of the ocean, stupendous rollinghills of water work. Monroe. 304a121st street. Tke r*aest 4evi«ttt!ca c* com* «S the Duttti E«t one another. Gradually the which threaten to engulf the land. No one who bTEXOGRAPK-iR and mictrty w*v*lends •> tlrae.7 circulate round TTPBWSIrSir tHHTdSaZs by •> Udal grows definite, direction Ftra years' experience: well educated, m ImsseW to this eTtlrl. -
The Allotment Garden in Uglebo Miss Sprutte the Annual Laceday
The Annual The Allotment Laceday Garden in Uglebo See more on page 30 See more on page 9 Miss Sprutte See more on page 21 Member magazine for The Danish Lace Association May 2018 131 Dear members We have since last held our Annu- were uttered about the new design of encouraging words, were we at the al Meeting and General Meeting on Kniplebrevet. We had for that reason, end able to get two members voted in. March 17th in Mødecenter Odense. decided to invite our new graphical edi- When we accept a vote this way, is the tors to the general meeting so they could fact that we go to our duty on the board What an Annual Meeting. I do not give answers to technical questions. whole-heartedly, not certain. I know for think that there has ever been so many Minutes from the general meeting and sure, that I, when I am up for election stands and exhibitors. It was a bit of a the appointment of the board can be next year, will NOT be a candidate. I puzzle to get room for everybody, but read someplace else in this bulletin. am right now in my 10th year as chair we succeeded at last with big profes- of the board, and I feel that I am getting sional help from Mødecenteret. We As you could read in Kniplebrevet no. worn out. I have loved our organization even regretfully had to thank no to 130, did Yvonne not wish to be a can- and still do, but new energy has to take one stand and drop our own reading- didate for reelection, and we therefore over. -
Proven Niche Markets
Proven Niche Markets 241 Niche Markets Proven To Be Successful Online By Nitro Marketing Proven Niche Markets NOTICE: You Do NOT Have the Right to Reprint or Resell this Manual! You Also MAY NOT Give Away, Sell or Share the Content Herein If you purchased this Manual from anywhere other than: www.NitroMarketing.com or www.NitroBlueprint.com or www.ProvenNicheMarkets.com then you have a pirated copy. Please help stop Internet crime by reporting this to: www.NitroSupport.com Copyright © 2006 - 2009. Hippo Data Services, LLC. ALL RIGHTS RESERVED. No part of this Manual may be reproduced or transmitted in any form whatsoever, electronic, or mechanical, including photocopying, recording, or by any informational storage or retrieval system without the expressed written, dated and signed permission from the author. LIMITS OF LIABILITY / DISCLAIMER OF WARRANTY: The authors and publisher of this Manual have used their best efforts in preparing this material. The authors and publisher make no representation or warranties with respect to the accuracy, applicability, fitness, or completeness of the contents of this program. They disclaim any warranties (expressed or implied), merchantability, or fitness for any particular purpose. The authors and publisher shall in no event be held liable for any loss or other damages, including but not limited to special, incidental, consequential, or other damages. As always, the advice of a competent legal, tax, accounting or other professional should be sought. This Manual contains material protected under International and Federal Copyright laws and Treaties. Any unauthorized reprint or use of this material is prohibited. Copyright © 2006 - 2009. Hippo Data Services, LLC. -
Laces and Lace Articles Laces and Lace Articles 223
222 LACES AND LACE ARTICLES LACES AND LACE ARTICLES 223- TABLE 107.—Rates of wages paid in the domestic and English bobbinet indun ' TABLE 108.—Index of the cost of living fixed by the Regional Commission of the n& for auxiliary processes Prefecture of the Rhone Process Domestic rates English rates i Index Index Date figure figure $0.145 per bundle (10 pounds). 4Kd.=$0. 0862 per bundle (10 pounds'! 30/2 $0.160 per bundle J 5Kd.= . 1115 per bundle. " December 1926. 500 40/2 $0.177 per bundle 6Jid.= . 1267 per bundle. August.1920 461 $0.207 per bundle December 1924. December 1927. 7Kd.= . 1521 per bundle. 379 March 1928 459 80/2 $0,355 per bundle... 10Md.= . 2129 per bundle. December 1925. The average weekly wages for Less 26 percent. this process paid by tbe firms from whom these fig ures were obtained is $21. IX. COST DATA "Warping f$0.85 to $0.90 per hour 15d. per hour = $0.3042. 1. Material costs (.Average per week, $40. Week of 48 hours, £3 = $14.60, less 25 percent Brass-bobbin winding... f$0.26 per 1,000 f All gages, up to and including 125 yards "„ In the manufacture of bobbinets yarns are used for two purposes, \$0.45, $0.50, $0.60 per hour \ 1,000, 6Md.=$0.1369. * aS' ljCr Average per week, $27.25 J4d. extra for every 25 yards or portion the^M for warp and for brass bobbins; the ascertainment of the amount of less 33% percent. each in a wmding does not present any difficulty. -
Amazing Lace Publication
AMAZING LACE Cover.qxd:Layout 1 05/11/2014 12:34 Page 1 AMAZING LACE AMAZING LACE A History of the Limerick Lace Industry A History of the Limerick Lace Industry By Dr Matthew Potter | Edited by Jacqui Hayes Amazing Lace a Limerick Industry :Layout 1 03/11/2014 18:52 Page 5 Copyright Information Published by Limerick City and County Council © Limerick City and County Council © of photographs remains with contributors ISBN: 978-0-905700-22-9 Design and Print AViD Graphic Design All rights reserved No part of this publication may be reproduced or transmitted without the written permission of Limerick City and County Council Inside cover: a close up of Limerick tambour lace (Courtesy of Veronica Rowe) Amazing Lace a Limerick Industry :Layout 1 03/11/2014 18:52 Page 6 Amazing Lace A History of the Limerick Lace Industry By Dr Matthew Potter: Edited by Jacqui Hayes Introduction ii Chapter 1 The Origins and History of Lace 1 Chapter 2 Limerick Lace as a Mass Industry 21 Chapter 3 The Revival of Limerick Lace 43 Chapter 4 Limerick Lace since 1914 65 Chapter 5 The Manufacture of Limerick Lace: Working Conditions 79 Chapter 6 Marketing Limerick Lace 101 Chapter 7 Conclusion 117 Considering Lace 123 Bibliography 141 Index 151 i Amazing Lace a Limerick Industry :Layout 1 03/11/2014 18:52 Page 7 Lace was one of Limerick’s most important industries and the city gave its name to a Introduction particular style of lace. This book is a response to the public interest in lace as many visitors to Limerick Museum come specifically to see the lace collection on display. -
Lace Classification System
LACE CLASSIFICATION SYSTEM © Rosemary Shepherd 2003 Powerhouse Museum, Sydney © Rosemary Shepherd 2003 Powerhouse Museum, Sydney LACE - DEFINITION AND CLASSIFICATION Introduction When I came to the Museum in 1983 most of the lace collection had no documentation beyond its original brief entry in the stock books. Because there had been so little work done on the lace it seemed an ideal opportunity to give serious thought to its exact nature and provide not only a definition but also a theoretical framework for its documentation in the form of a classification system.This seemed both possible and desirable given the discrete nature of the lace collection and the complex and varied techniques it encompassed. Furthermore, a theoretical framework would both simplify and clarify the documentation process. In the museum context a classification system is essentially a tool for understanding a particular subject or collecting area. A definition of that subject is needed before decisions can be made about how to classify the objects within it. Everyone thinks they know what lace is, but describing it unambiguously is not so easy. Those who make lace assume that any fabric produced using a lacemaking technique is automatically lace, but such techniques are used in many interesting contemporary textiles that are too dense to be called lace. On the other hand, those who are not makers invariably have a very fixed idea of lace based on its traditional forms, regardless of the way it is made. The definition of lace as a decorative openwork fabric in which the pattern of spaces is as important as the solid areas1 is not only appropriate for historic and traditional lace, but also takes into account current and future developments in technique and expression. -
The Romance of the Lace Pillow; Being The
rSS:-- :SK»";;;.»>(f,!'^^';;;~i;;j„ n;!."in;'*w>nii5S;."S'. .•tSsr.KT.fimBja:;.''.:;-: ip-KSSSiiiliiHi:' i*""^!^ c ci>»*P»""*" "lit" »»» "•""If! C««.» t*»f'f'^;'"i;c; ALBERT R. MANN LIBRARY New York State Colleges OF Agriculture and Home Economics AT Cornell UniversitV NK9443.W9r"'"™""'"-"'™^ The romance of the lace pillow; being the 3 1924 o-|4""557"72'2""" I Cornell University J Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014557122 The Romance of the Lace Pillow A BUCKS LACE-MAKER. Photo by Dr. Habberton Lulham. THE ROMANCE OF THE LACE PILLOW BEIHG Cl^e Jislorg of yatc-mahtttg in bucks, beds, northants and neighbouring 'counties, together with some account of the LACE industries OF DEVON AND IRELAND. BY THOMAS WRIGHT (Author of "The Life of William Cowper" " The Life of Edward FitzGerald," "The Life of John Payne," &c., &c.j WITH FIFTY PLATES. OLNEY, BUCKS : H. H. ARMSTRONG. 1919. — THIS WORK IS DEDICATED, BY KIND PERMISSION, TO HER MAJESTY QUEEN ALEXANDRA, ' •who accepts the dedication, to use her own words, ' in -consideration of the great importance of the Pillow Lace Industry in this country," AND, bSt kind permission, ALSO TO MRS. W.. W. CARLILE. OF GAVHURST HOUSE, NEWPORT PAGNELL. Some thirty years ago Mr. James William Carlile, iather of Mr. W. W. ,Carlile, accepted the dedication of my first work, The Town of Cowper. It is with great pleasure that I am able, after so many years, to inscribe another volume with the name of a member of the same family—a lady who has laboured so un- weariedly in the interest of the beautiful art which is the subject of its pages. -
FICHES Linge De Maison AUTOMNE 2018
Sale of Lace & house linen, October 24th 2018. Specialist and Valuer : Claude Vuille Auctioneer : Coutau-Bégarie & Associés 1. Quatre draps de dessus brodés, début du XXe siècle. Rabat à jours et chiffre DE brodé au plumetis pour chacun des draps. Lin. Largeur: 240 cm pour deux, 230 cm pour les deux autres. Four linen sheet with hand-worked embroidery, monogram DE, early 20th cent. (good strong condition, a very few light storage stains) Dim. sheet: 240 cm and 230 cm 120 / 150 € 2. Trois draps de dessus brodés, début du XXe siècle. Trois draps en lin et métis, chiffre brodé, un à grand rabat orné de beaux jours croisés et incrustations de dentelle aux fuseaux, chiffre MP, largeur : 235 cm, un autre à encadrement de dentelle aux fuseaux, chiffre EG, largeur : 220 cm et un drap à jours et chiffre CR, largeur : 185 cm. On joint deux taies de traversins. Three linen sheet with hand-worked embroidery, early 20th cent. One with monogram MP and insertions of bobbin lace Dim. 235 cm, one with monogram EG and bobbin lace edging Dim. 220 cm, and one with monogram CR Dim. 185 cm. Linen and cotton. (good strong condition, a very few light storage stains) 80 / 120 € 3. Quatre draps de dessus brodés, début du XXe siècle. Trois draps en lin et métis, chiffre brodé, l’un à rabat de jours et grand chiffre LN, largeur : 240 cm, un à rivière de jours et pois brodés, chiffre MV, largeur : 230 cm, un autre à grand rabat orné de jours et pois brodés, chiffre MV Dim. -
Thesis Text Fr Print#3A568C.Cwk
1 Chapter I Introduction Mark Twain coined the name Gilded Age to define the period of rapid industrial advancement, economic boom, big business development and frothing material opulence that erupted in America after the Civil War.1 In Mrs. Astor’s New York, Eric Homberger calls this same time period “The Age of Aristocracy” although he is explicit in differentiating his usage from the traditional European sense of the term. A true aristocracy has its base in the ownership and cultivation of land which the ultra wealthy of 1880s New York did not have.2 Homberger describes aristocracy as a “metaphor for high social status or prestige” and uses it to identify an upper class subgroup of individuals and families who shared a British-based set of aristocratic rituals, identity and organization.3 Homberger suggests that renewed interest in British culture began in the 1820s and 1830s when negative Revolutionary War sentiments had eased and many wealthy Americans looked to England for the latest fashions in lifestyle as well as templates for domestic architecture.4 Social pacesetter Mrs. William K. Vanderbilt favored French design and sophistication. As young Alva Smith, she had been taken to Paris by her mother in the 1860s and entertained at the glittering court of Napoleon III and the Empress Eugenie.5 In later years, Mrs. Vanderbilt brought her love of the French Renaissance and the Bourbons6 into the design of her homes. She employed architect Richard Morris Hunt (1827-1895), a proponent of the Beaux Arts style and known for his ideas of European grandeur.7 Hunt designed the William K. -
Bobbins of Belgium
BOBBINS OF BELGIUM 11. M. DUKt.N U.i.->Ai!l.l II Ol Hi:i.(.llM BELGIAN LACE MESHES (Plate I) After Pierre Verhagen in "La Dentelle Beige" All meshes made with bobbins: 1 and 4, Valenciennes, round mesh; 2, Val- enciennes, square mesh: 3, Valenciennes, mesh almost round; 5, Chantiliy; f). Old Flanders: 7, Point de Paris BHBHHi ^iZ-^ W- >i9,Zii X?: :< > "' 5v1•o^ jH g >c vr <y ' i -rt :^^^9 i • ^'^1 1 0\- ^m lliiiimn[ BELGIAN LACE MESHES (Plate 11) After Pierre \'erhagen in "La Dentelle Beige" Meshes, 8 to 12, made witli bobbins: S, I'.inche: '>, :Malines; 10, Point de Lille, made for l-'raiice; 11, Point de I-ille, destined for IToIland; 12, (ianze I'oint, made with needle, nsed in T^oint d'Angletcrre: 1.^, P.rnssels ( macliine-niade ncl ; II, h-, Unary macliine-niadr net. BOBBINS OF BELGIUM A BOOK OF BELGIAN LACE, LACE- WORKERS, LACE-SCHOOLS AND LACE-VILLAGES By CHARLOTTE KELLOGG Of the Commission for Relief in Belgium, and Author of "Women of Belgium" FUNK & WAGNALLS COMPANY NEW YORK AND LONDON 1920 Copyright, 1920, by FUNK & WAGNALLS COMPANY [Printed in the United States of America] Published in February, 1920 Copyrig-ht Under the Articles of the Copyright Convention of the Pan-American Republics and the United States, August 11, 191Q, OS CQ DEDICATION To the women of the Brussels war-time lace committee—Madame Allard, the Vi- comtesse de Beughem, Madame Kefer-Mali, and the Comtesse Elizabeth d'Oultremont, with admiration and gratitude. V .'J80790 CONTENTS CHAPTER PAG» Preface 15 Introduction 25 I.