May I make one small point regarding the 'Channer' mat. As far as is known
Miss Channer designed but did not work it, the example shown in old
photographs was worked by "Mrs Dixon of Clapham, Bedford, at one of the
classes of the Bedford Technical Institute c1926".
The mat is in the collection of the Cecil Higgins Art Gallery, Bedford but
the last I heard it had unfortunately been 'misplaced'.
Diana in Northamptonshire
----- Original Message -----
From: "Clay Blackwell" <clayblackw...@comcast.net>
To: "Susan Reishus" <elationrelat...@yahoo.com>
Cc: <l...@dont.panix.com>
Sent: Wednesday, March 25, 2009 10:12 PM
Subject: Re: [lace] Cope and Pin Stitch
Hi Susan -
I've not jumped into this discussion prior to this, but will now. If
you're really interested in learning more about Bucks lace, a really
valuable little book is "Decorative Fillings for Bucks Point Lace",
compiled by Geraldine Stott. Once you see this book, you'll realize that
the Cope was probably designed and executed using as much "flair" as the
lacemaker could muster! After all, it was for a very important person,
and would be seen a lot - assuming it was worthy. (And, it certainly
seems it was worthy...).
So, if you go through this book (which does not cover every filling ever
invented, but has enough to give you a sense of the possibilities!),
you'll realize that some of these fillings are designed to be bias (or
diagonal) designs, some are similar to the "snowflakes" seen in Binche,
Mechlin, and other continental laces, and some are simple variations on
familiar grounds (in this book, there are seven variations of the
Mayflower ground!). It might be interesting to know how this lace was
oriented when it was worn, because our eye can play tricks on us, and even
make what is worked as a bias look perfectly "squared" if worn in a
certain way.
As far as your observation about David's version of Miss Channer's Mat,
I'll just make this comment: Miss Channer's Mat was designed and worked
by the lovely Miss Channer, for her own use (as I understand). A pattern
has been made from it which many Bucks lacemakers aspire to work. One
reason it is so sought after as a pattern (but hard to come by as it is
out of print) is that it is challenging to the average modern lacemaker,
but is not made up of many, many fillings which give it the complexity of
the Cope. It is accessible, because it "only" requires a good knowledge
of the elements of Floral of Bucks (not a mean feat - that), and the
ability to handle an awful lot of bobbins!! (And this is what often
separates the adults from the kids!!) The Cope is an infinitely more
complex piece. And it was designed that way to draw attention to the
person wearing it. And the person who wore it probably would not have
accepted it or worn it if it had not been so.
So Malcolm displayed an incredible amount of skill in duplicating this
Cope. I dare say it has not been completed by many people. On the other
hand, Miss Channer's Mat has been started by many, many people. My guess
is that a significant number of those people did not complete it because
it was time-consuming, it required the manipulation of so many bobbins,
and finally... they just moved on to other things (life does have a way
of doing that to some projects, especially if the lacemaker has a job or a
family or both...). Still, it has been done by a lot of people. This is
not meant, in any way, to detract from what David is doing. I always
applaud a lacemaker who takes something that we've seen before and does
something different with it! This is how our art evolves!! So, it's
worth our time to watch as he employs techniques not used by the lovely
Miss Channing, to create something equally lovely, a tad smaller, and
black. And as he says, "call it what you will, it will still be lovely".
And guess what? I suspect that the designer of the Cope was doing just
that... adopting fillings s/he had seen in laces from other places,
"morphing" familiar fillings, inventing new ones... The result is, of
course, outstanding.
Clay
Clay Blackwell
Lynchburg, VA, USA
Susan Reishus wrote:
I edited your query Ann, as I thought I had put it in the subject line
this would simplify. It was Malcolm's Cope. I noticed nothing of the
sort in David's incredible pieces. I guess my eye just goes to what I
saw in Malcolm's right away, and wondered if it is my varied needlework
background filtering, or a part of Malcolm's piece (and appropriate to
that style/technique), or inappropriate if it was modified.
No offense intended, just asking stupid questions. <S>
Best,
Susan Reishus
***
My query (and hope it isn't too rude) is, why isn't the grain of the mesh
worked within each of the "medallions," symetrical to it's opposing
medallion and yet within the medallion itself, and/or the grain parallel
or perpendicular to the outer and inner edge?
***
Is this referring to...Malcolm's cope?
Ann
Yorkshire UK
***
More familiar with the term Madeira, but there is much info on doing it
if you google "French Heirloom" sewing techniques and the like. As I
remembered "pin stitch" it often could be a fine finish to say a
hand-rolled hem that could look like a drawn thread but just stitched so
looks drawn (or can be). Only one piece of fabric would be used, I
suppose one could call it a faux Madeira perhaps.
Best,
Susan Reishus
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