Hi all,
You will know that I am not a lace maker, but in my patchwork hobby life, we
are experiencing the same slow evolution away from traditional patchworking.
When it first started happening I "blamed" artists taking over our hobby,
but now I see that it is a generational trait. We are
I started making lace in 1970, and in 1980 I started to learn Bucks point lace
from Marjory Carter. I joined a week long course with her for several years.
She was a wonderful teacher, and I enjoyed every minute. She certainly believed
that Bucks point should always be traditional in design and
I will ask Jules Kliot if he remembers conversations with Beiderman
regarding what appears to be Beiderman's disdain for modern art lace. They
published her book so there must have been appreciation at least on their
side. What do you know or remember about their relationship?
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> some kind of tension between Gertrude Biederman,
> holding a traditionalist point of view, and Kathe Kliot representing a
> modern art-lace position
Even today, there is tension between the traditionalist point of view and the
modern art-lace position, but I recall the tension being much stronge
Im no expert. I began learning lace in 1981, from a woman who had coerced a
German woman into teaching her. I remember Biederman and Kliot. I have Kliots
book on lacemaking. As far as I can see its a difference in gauge. Biederman
worked with the traditional fine threads and Kliot worked with th
Devon seems to pose some kind of tension between Gertrude Biederman,
holding a traditionalist point of view, and Kathe Kliot representing a
modern art-lace position.
Yesterday afternoon I spent some time at Lacis in conversation with Jules
Kliot. Lacis is an extraordinary place. He was particularl
I mistated the source of the article on Russian lacemaking. It was
Soviet Weekly, not the Daily Worker.
Devon
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When I was the IOLI Historian I wrote some pieces culled from
information in the earliest publications of the IOLI. I was intrigued
that in addition to Kaethe Kliot, there was another major lace figure
in San Francisco, Gertrude Biedermann, who espoused a more
traditionalist point of view on lace.