Re: [lace] Wedding lace

[Kathleen Harris]

Hankies were certainly bigger in the past, twelve inches or more was common, 
whether they were carried by men or women. But I think a hanky would have a 
solid centre of fabric rather than lace. A chalice cover  might be all lace.

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> On 24 Jun 2019, at 05:55, H M Clarke  wrote:
> 
> I would be the last person to suggest that I have any more knowledge than the 
> rest of you. That doesn’t stop me pretending sometimes so here goes ...
> 
> I would like to put the idea out there that many of the antique handkerchiefs 
> were used by men. Their fashions were more ornate and eye catching than their 
> female equivalents. A gentleman would have a larger handkerchief or it could 
> be a kerchief. Even when ladies were happily waving their handkerchief in 
> their hand, it was fully unfolded and so maybe smaller than we imagine? Also, 
> have I missed a reference to wedding handkerchiefs being a real thing in 
> olden times? I certainly have not seen Alice’s message on this topic. 
> 
> End of my tuppence worth (we got rid of our ‘penny’ years ago but my old 
> country still has theirs). 
> 
> Helen. 
> 
>> Antique examples were extremely large,15-20" of fabric. Smaller items are
>> usually described as chalice covers.
>> http://www.metmuseum.org/art/collection/search/215260?sortBy=Relevance&ft
>> shows a handkerchief 15inches square.
>> 
>> Annette Meldrum in a rainy, South Coast NSW, Australia
> 
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Re: [lace] Lassen question

[Kathleen Harris]

The stitching is very close and tight, so I think there is no chance of fraying 
 over time, as long as the treatment of the lace is reasonably gentle as it 
always should be.

Kathleen, in a hot and humid Berkshire, UK, expecting thunder any minute!

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> On 23 Jun 2019, at 12:32, Karen ZM  wrote:
> 
> Interesting to follow the discussion on lassen.
> 
> What I am still trying to understand, though, is that once the extra piece
> of lace is cut away, what is there to keep it looking neat over time (i.e.
> not have a frayed edge)?
> 
> Karen in Malta
> 
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[lace] Lassen

[Kathleen Harris]

When I was learning Flanders and Binche in Bruges, 30years ago, I was taught by 
Anne-Marie Verbeke-Billiet. She taught her students to start at a point in the 
lace where a join could be most invisibly placed. The first repeat of the 
pattern was to practise and learn the pattern, and the last repeat would lie 
over the first, which would be cut away.

We were not taught how to make the join, but advised to take the finished lace 
to the t’Apostilente shop where the girls ( sisters I think) were experts at 
“lassen”. I know several lacemakers who did this and were very pleased with the 
result. And it wasn’t too expensive either. I tended to make samples rather 
than complete circles or squares of lace, so I have no personal experience. 
Now, I wish that I had some complete pieces!

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Re: [lace] Threads

[Kathleen Harris]

Alix, I have never heard that before so thank you for the information. Lead 
would certainly damage the silk, and probably intensify the black colour too! 

Kathleen



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Re: [lace] Thresds

[Kathleen Harris]

I visited Grammont many years ago to see Chantilly lace in the museum there - 
at least I think it was a museum, I do not remember clearly. But I do remember 
that we were told that the lace was made with black silk thread, and that the 
silk reacted badly to the dye, therefore the lace did not have a long life! I 
would like to have known what dye was used, but no one knew. 

Kathleen

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Re: [lace] Lace Guild Artefact of the month

[Kathleen Harris]

I seem to have dropped off the list of recipients of the artefact of the month. 
I haven’t had one for a while.

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> On 1 Jul 2018, at 10:00, Diana Smith  wrote:
> 
> Has anyone else received the new look Artefact of the Month page from the 
> English Lace Guild? 
> It has been given a whole new look and it certainly is an improvement. The 
> Artefact is a sample piece of American eagle old Bucks type lace. I’ve seen 
> this pattern adapted to a bookmark/fingerplate - one of those pieces I’ve 
> been  to try!
> Diana in a very hot Northamptonshire where we really need some rain. 
> 
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Re: [lace] The archetype of the lacemaker - books

[Kathleen Harris]

And for a fictional account of the life of one of the lacemakers involved in 
the making of the lace for Victoria’s wedding dress read “The Royal Lacemaker” 
by Linda Finlay. It is a good read and, as far as I can tell, an accurate 
account. 

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> On 25 May 2018, at 18:10, Jeri Ames  wrote:
> 
> There has been correspondence about Devon Trolly Lace in the past. Search by
> that name at 
> http://www.mail-archive.com/lace@arachne.com/index.html 
>  
> Once in the archives, if you would like to know more about the subjects
> mentioned by Sue T. in Dorset, you can search for information about the
> following:
>  
> The book that best informs about lace belonging to Queen Victoria is Royal
> Honiton Lace by Elsie Luxton and Yusai Fukuyama, Batsford, 1988.  Luxton is
> known for her books on Honiton Lace.  There is also a booklet by Kay
> Staniland and Santina Levey titled Queen Victoria's Wedding Dress and Lace,
> published by W. S. Maney & Son Ltd., 1983.
>  
> Finally, perhaps the best and most enjoyable book to use for research about
> Queen Victoria's entire wardrobe is In Royal Fashion - Clothes of Charlotte
> and Victoria by Kay Staniland, published by the Museum of London, 1997.  Best
> described as a best-friend book.
>  
> Jeri Ames in Maine USA
> Lace and Embroidery Resource Center
> -
> We went to a Lace Event
> since then and were shown samples in a book and other items from that time.
> http://www.barbara-fay.com/index.php/en/component/virtuemart/bobbin-lace/devo
> n-trolly-lace-patterns-and-lace-for-queen-victoria-detail?Itemid=0
> This link will show you a book and give you just a little information 
> Sue T  Dorset UK, which is the county next to Devon.
> 
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[lace] Lace and maths

[Kathleen Harris]

I wonder if it is simply that bobbin lace appeals particularly to scientists 
and especially mathematicians. Moving on from this, is it the more “regular” 
laces which appeal, I.e. Torchon, Bucks and Flanders, rather than Bedfordshire 
for instance?

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Re: [lace] mathematicians, IT engineers and lacemaking

[Kathleen Harris]

Marjory Carter, who I mentioned as my Bucks point tutor, had been a maths 
teacher in a grammar school, until she retired. She learned her lace from a 
lady with whom she lodged when she was training as a teacher. I started to take 
courses with her in 1980, so I guess she would have retired in 1975 after 
40years of teaching. These dates are guesses, but cannot be far out, I hope.

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> On 19 May 2018, at 17:50, Sharon Ghamari-Tabrizi  
> wrote:
> 
> Friends
> 
> Both Devon and Alex Stillwell have pointed out to me that some of the
> finest lacemakers are mathematicians and computer engineers. It makes
> intuitive sense.
> I have a math learning disability so I wouldn't be able to follow more than
> superficially, but allowing for that, does anyone have any anecdotes or
> observations that would be good to know about?
> 
> I ought to mention that poor old Bobby is endlessly queried -- tacitly as
> well as openly -- if he is gay. One of the themes I am exploring is what
> appears to be the problem of Bobby's masculinity. Knowing something about
> math/IT lacemakers (if there were in the 1980s, mind you), would be an
> interesting wrinkle since in the United States, math and computers are
> coded as masculine activities.
> 
> (The latter is not a universal gender-category. In Iran, for example, math
> and engineering are distinctly *not* coded as masculine.)
> 
> Sharon
> 
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[lace] Traditional and modern lace.

[Kathleen Harris]

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 worked in fine 
cotton, white ecru or black. New designs should always be “traditional” in 
concept. 

By this time I had started to design lace myself - not Bucks point - but trying 
to make lace “pictures”. I had designed a small picture of a sea horse among 
water weeds, in colour, of which I was quite proud, so, although it was not yet 
framed, I summoned up my courage and showed it to Marjory. She looked at it and 
said very little! But the next day she brought and gave me a frame which was 
perfect for my picture. 

>From this I realised that, although she loved traditional Bucks point, and 
>believed that It should stick to tradition, and she would only teach and 
>design it in this way, she was open to the idea that lace could be adapted to 
>“modern” methods and made in colour, especially if it was presented properly!  
> I think that this encouraged me to embrace both “traditional” and “modern” 
>lace, in whatever interpretation they appeared. 

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[lace] Colour in lace

[Kathleen Harris]

Some years ago I visited a village in southern Belgium which had specialised in 
making black Chantilly lace. It’s name escapes me. The lace we saw was 
fantastic, but we were told that there was little of it left, because the black 
dye used to colour the thread, (or maybe the process used) rotted the thread 
over time. I wonder if anyone else has heard this, and also, what dye was used?

Kathleen, in a damp and dreary Berkshire, UK.


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Re: [lace] Nenia Lovesey

[Kathleen Harris]

I think Nena wrote the needlelace books because she wanted the lace revival to 
include needlelace. There were already several bobbin lace books around, but 
none on needlelace at that time. I think that needlelace was her favourite 
craft!

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> On 27 Mar 2018, at 16:47, Jeri Ames  wrote:
> 
> Many have been writing about Nenia Lovesey's influence as a bobbin lace
> teacher.  There are six books by Lovesey (one with co-author Catherine
> Barley) in my library.  Five are about needle lace and the sixth about both
> bobbin and needle lace.  This sixth is one of my favorites, because she tells
> how she taught very young grandchildren to make bobbin lace.  It is
> illustrated with pictures.  Were there additional books, perhaps about bobbin
> lace?  Here is my list:
> 
> 
> Creative Design in Needlepoint Lace - 1983
> Introduction to Needlepoint Lace - 1985
> Punto Tagliato Lace -1986
> Reflections on Lace - 1988 (teaching children)
> Technique of Needlepoint Lace - 1980
> Venetian Gros Point Lace - 1986 (co-author: Barley) 
>  
> The Reflections book has a dedication: A letter to my granddaughters (lists
> 8), and continues - Indeed for any other little girl with love from Nana
> Lovesey.  It is a must-have book for lace teachers.  There are pictures of
> Kate Marie making bobbin lace in 1981, at age three!  Wonder if she is still
> lacing?  Following is a lovely memory paragraph from page 25 of this book:
>  
> When I was aged about four, the highlight of my year was to travel up from
> Devon to stay with Paternal Grandparents while Mother taught for two weeks at
> the school of Louisa and Rosa Tebbs.  The school was a tall house that
> reached to the sky, in Kensington Church Street in London.  There was a
> basement where meals were served, then there were winding stairs that went
> right to the top, so high up the windows were turrets, because by the time one
> reached the top, the house had become a castle.  One could see for ever and
> ever over the roof-tops.  This was where the lace for grand ladies was kept.
>  I was sure that one day a Knight in shining armour would climb all these
> stairs to choose a laced handkerchief for his Lady.  It seemed a pity he
> never arrived while I was there, because I had never seen a Knight before.
>  
> This makes me (Jeri) think of Mary Poppins, and also of the old headquarters
> of the Royal School of Needlework when it was in Kensington (now, it is at
> Hampton Court Palace).  Lovesey's following paragraphs are equally amusing.
>  Very worth reading, if you can find or borrow the book.
>  
> Jeri Ames in Maine USA
> Lace and Embroidery Resource Center
>  
>  
> 
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Re: [lace] Lace Revival

[Kathleen Harris]

Certainly the craft centre which Nena Lovesey ran received advice from the CAC, 
but I don’t think they supplied funding, although they may have done. The 
committee which was formed to oversee the centre was chaired by my husband, and 
I know he was in correspondence with the CAD, but the centre was independent of 
them. The committee did all the manual work involved in getting the premises 
ready!

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[lace] Lace revival - bobbins

[Kathleen Harris]

Strange how this thread has revived so many memories! When I started making 
lace with Nena Lovesey in 1970, with my Belgian bobbins, she not only taught me 
to make lace, she taught me all sorts of things about lace. This continued with 
talks which she gave to emerging lace groups. So I learned about the East 
Midlands lace making area, and its industry, and about Honiton lace. I learned 
about English spangled bobbins.

My husband, on a journey to London, passed through Woburn, and spotted an 
antique shop. He collected antique cameras, so went in to investigate, and 
found, not cameras but lace bobbins. He bought about 70 bobbins, very cheaply 
because there was as yet no demand for them. The owner was delighted that they 
would be used to make lace! On his way back he called into the shop again and 
the owner had dug out more bobbins, which he bought. So I started my collection 
of antique spangled bobbins, with about 120 including a few with inscriptions, 
and some bone ones.  How lucky was I?

Kathleen, in a  brighter Berkshire.



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[lace] Lace revival

[Kathleen Harris]

I started to make bobbin lace in 1970. Nena Lovesey started me off with a 
simple pillow, some Belgian bobbins, and excellent basic instruction! I loved 
it! When she thought I was able enough, she introduced me to the Swedish 
Knipplerscan books. There were two paperback books of patterns, starting with 
the simplest and gradually increasing the complexity. As I remember, there were 
few instructions, just the pattern and a picture of the finished lace. 

I had no more formal instruction from Nena, and I just worked these Torchon 
patterns for quite a while. Then I found the Maidment book, Mincoff and 
Marriage, Doreen Wright’s book and then Pam Nottingham’s. And the rest is 
history - for me at least - my favourite occupation.

Nena believed that the two wars had split families up, and moved them apart, so 
that grandparents were no longer able to pass on craft skills to grandchildren. 
So she instigated the opening of a craft centre, and collected as many crafts 
people as she could to pass on their skills to another generation. This 
included “male” crafts as well as “female” ones. I think she had a big 
influence on lace, in this area of the UK at least, where she taught and 
encouraged so many lace makers.

The 1970’s saw lace classes start, and therefore the production of pillows, 
bobbins, pins etc. when there was a market for them - and then of course lace 
days, the Lace Guild, the Lace Society, and the realisation that there was a 
large lacemaking community in the UK as well as in Europe.

Kathleen
In a wet and chilly Berkshire UK

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[lace] Arachne list

[Kathleen Harris]

I too am guilty of enjoying the list, but not responding to messages. I always 
enjoy Jeri's historical messages, and have learned from them. I enjoyed the 
discussion about lace tells, but have not yet looked up my own notes to see if 
I can add anything to it. 

Many years ago, when I was learning Bucks Point lace from Marjory Carter, who 
English lacemakers will remember and respect, she told me that experienced 
Bucks lacemakers worked areas of ground without placing pins. Their tension was 
good enough to be able to do this, and it speeded the work up considerably. 
Whether or not the ground was pricked, I do not know. It could have been 
pricked but the pin holes not used. I have never seen an old Bucks pricking 
with the ground not pricked.

I don't think I have any rosewood bobbins, but I know I have two ivory bobbins. 
They were carved from a very old piece of ivory that the maker had had for many 
years - certainly before the current restrictions (which I endorse completely) 
came into force. I only go to Belgium to make lace nowadays, and there I use 
Binche bobbins, so any controversial bobbins stay at home.

I enjoy reading the list every day, and would miss it very much if it 
disappeared. I will try in future to respond to messages which have interested 
me. The rants and insults upset me, but I will not let them affect my 
attachment to the list.

Kathleen
In a wet and windy Berkshire, UK.

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Re: [lace] Colour Coding

[Kathleen Harris]

I can't remember when I first used a 'ghost pillow', or where the idea came 
from. I think it was when I made Binche, so maybe it was Anne-Marie in Bruges. 
I certainly didn't use it when I started making Bucks point- I don't think 
Margery Carted would have approved! But I could have found it useful in the 
latest piece of Bucks I have made - but the pattern didn't have a working 
diagram anyway! 

Kathleen
In a chilly Berkshire, UK

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> On 15 Sep 2017, at 03:40, Adele Shaak  wrote:
> 
> Hi Jocelyn:
> 
> I can’t recall any books that mention a ghost pillow, a voodoo board, or the 
> concept under any other name. It is something that was suggested to me as I 
> was floundering around in Old Flanders, but whether it’s an old idea or 
> something fairly recent I couldn’t say. When I use it, I pin an enlarged copy 
> of my thread diagram to a cork board, and every time I put a pin in the lace, 
> I put a pin through the same pinhole on my cork board. I use drawing pins - 
> the short ones with the big round heads - and I just use enough pins so the 
> most current rows have pins on my cork board. I can see, right away, exactly 
> where I am and which pinholes I have worked.
> 
> There are a lot of people who use the Post-It Note arrows, one arrow to a 
> pinhole. That would work just as well, I think, and it eliminates the need 
> for a surface to pin into. But I’ve never tried it so I can’t really comment.
> 
> I haven’t yet needed to do any colour coding on my thread diagrams.
> 
> Adele
> West Vancouver, BC
> 
> 
>> On Sep 14, 2017, at 4:44 PM, Jocelyn Froese  
>> wrote:
>> 
>> So I looked up ghost pillow and nothing surfaced. Is this term in any 
>> instruction book? Perhaps a photo would be helpful. 
>> I do colour codes on an enlarged diagram of the pricking on my pillow. This 
>> seems to help. It's only for the tricky parts, esp when there's a forest of 
>> many pins and best not to undo rows of finished work. Does anyone else do 
>> this? 
>> Thanks, 
>> Jocelyn in Winnipeg, central Canada.
> 
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Re: [lace] Lace samples

[Kathleen Harris]

I am afraid mine go into a folder and probably never see the light again!

Kathleen
In an unseasonably cold Berkshire, UK

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> On 13 Sep 2017, at 22:10, H M Clarke  wrote:
> 
> I'm wondering what you all do with your lace samples? I'm thinking of 
> segments of a piece that you decided not to complete; short lengths of 
> continuous laces where you may have been testing threads, colours or 
> whatever; working out certain techniques before progressing to the final 
> piece; and similar. 
> 
> I cannot believe that I'm the only one with these pieces. In general, I've 
> been sewing them onto a cushion cover - I'm on my second one now. 
> 
> What do you do? Please share your methods with the list to inspire the rest 
> of us :-)
> 
> Regards, Helen (on the sunny west coast of mainland Canada where it is 
> beginning to feel slightly autumnal and I'm delighted!)
> 
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Re: [lace] Ghost pillow

[Kathleen Harris]

Hi Joepie,  I have used this method on both Flanders and Binche, which often 
have such excellent enlarged working diagrams. I imagine it could be used for 
other laces which have detailed diagrams, which could perhaps be enlarged if 
necessary. It certainly helps a great deal!

Kathleen
In an unseasonably cold Berkshire, UK

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> On 13 Sep 2017, at 17:44, J-D Hammett  wrote:
> 
> Hi Lyn and fellow Arachnids,
> 
> Thank you very much for sharing, Lyn. There are some really useful ideas here.
> I have used an “idiot’s board” before (a piece of polystyrene or soft board
> with the diagram/enlarged pricking on it to put pins in as you progress) if a
> lace had an extremely difficult section, but put it away once I‘d conquered
> the problem area. I will probably use it more now.
> 
> Happy lace making,
> 
> Joepie in a wet East Sussex.
> 
> 
> From: Lyn Bailey
> Sent: 13 September 2017 16:30
> To: lace@arachne.com
> Subject: [lace] Ghost pillow
> 
> I don’t know all the names a ghost pillow is called, but it is a very useful
> device, used especially in more complicated laces where repeats don’t really
> happen.  You have your pricking on your pillow.  Then usually you have a
> diagram or at least another, enlarged pricking on a piece of cork, or other
> board which will take pins.
> <.
> ..>In other cases, either with or
> without a ghost
> pillow, I put 2 pins on either side of the pair that needs to be worked next
> when I think that might not be readily apparent.
> 
> Lyn in Lancaster,
> 
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[lace] Exchanges

[Kathleen Harris]

This list is so valuable to so many people, please do not let this problem 
destroy it. I do hope that no one will leave the list because of it. Please, 
Jenny, do not leave us - you are so necessary to the list. This problem has 
grown out of proportion, and hurt some of us very much, I would love to be able 
to draw a line under it and get back to 'normal'.

I had not taken part in an exchange until last year. I had. not registered who 
organised them, but I had realised and appreciated what a mammoth task it was. 
And the magnitude of Jenny's task in setting up the web sites too. The 
Christmas card exchanged seemed too complex, not from the lacemaking side but I 
didn't feel able to think of a design to link the lace to the concept. Then I 
saw Lin's call for the bookmark exchange. I happened to have two bookmarks 
already designed and worked and suddenly thought that I could do this, and 
actually exchanged with four other lace makers. It was wonderful to link up wth 
them. This year I again exchanged with four more lacemakers, and really 
appreciated the experience. Now I have links with eight lacemakers worldwide.

When Lin announced a motif exchange, I was not in a position to take part, but 
it interested me. Then the Christmas card exchange was announced. I realised 
that I couldn't take part this year, but it occurred to me that I could plan 
ahead and take part in three exchanges next year, bookmark, motif and 
Christmas. I was looking forward to it! 

The exchanges are important, because they link so many Arachne members 
together, I only realised this when I took part in one myself. I know that 
people have been hurt, but please can we find a way to be 'together' again. I 
know that it will be hard to forgive and forget but please can we try!

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[lace] Bookmark exchange 2017

[Kathleen Harris]

I have received a most beautiful bookmark from Susan  Brooks - it is the one 
with the swans, which someone has already mentioned from its picture on the web 
site. Thank you very much, Susan, I shall treasure it! 

It obviously got delayed in the post, but I am so glad it wasn't lost!

Kathleen,  in a warm and sunny, at last, 
Berkshire, UK


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[lace] Bookmarks.

[Kathleen Harris]

I have received two lovely Torchon bookmarks. The first is from Robyn Denny in 
New Zealand and the second from Sue Vossier in France, her own design. They are 
so different, which shows how versatile Torchon lace can be. Many thanks to you 
both.
Kathleen

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[lace] Bookmark exchange

[Kathleen Harris]

I have received a lovely "spidery" Torchon bookmark from Gail Parish. Thank you 
Gail, and for the pretty card which accompanied it.


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Re: [lace] Lace in India

[Kathleen Harris]

I think it was Sulachona who was on the trip from UK to the OIDFA congress in 
Finland, some years ago now though. If so, she was a keen lacemaker and a 
lovely lady. 


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Re: [lace] Linen thread

[Kathleen Harris]

I have spun flax into linen thread, fine enough to make lace, but only just! I 
made a small owl with it (Gill Dye's design?). I have discussed linen thread 
with tutors from the Kantcentrum in Bruges. They told me that the old varieties 
of flax, which were used to produce linen thread fine enough to make, for 
instance, Binche lace, have been lost. Today's flax varieties just do not have 
fine enough fibres. So the finest lace has to be made from cotton! 

I wonder if there are slubs in old Binche lace - I have never looked, but it 
should be possible to do so, maybe in museums in Belgium.

Kathleen
Berkshire, UK

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> On 16 Oct 2016, at 21:14, Adele Shaak  wrote:
> 
> Hi Susan:
> 
> True story - in London the mid-1960s, linen manufacturers worked and worked 
> to get the slubs (that’s what those big hunks of lint are called) out of the 
> linen thread used to make fabric, because people wanted smooth linen for 
> high-quality dressmaking. Then the 60s fashion revolution happened and 
> designer Mary Quant headed the trend that convinced them to keep the slubs, 
> for the texture.
> 
> Nothing to do with your 90/2 thread, of course, but an interesting story. 
> 
> Anyway, slubs have always been a part of linen thread. We’ve had a lot of 
> discussions about linen thread over the years; you could probably find them 
> in the archive. There are all sorts of twists and turns to the story (excuse 
> the pun). Smooth threads in manufacturing are often achieved through cutting 
> up the long flax fibre into very small pieces that are wet spun to achieve 
> uniformity - but that takes away much of the strength of the fibre. Plus, 
> it’s difficult to spin very fine linen thread by machine - in the past, very 
> expert master handspinners achieved very fine linen threads, but that quality 
> of skill just doesn’t exist any more. 
> 
> When I was into handspinning, every year I’d meet one or two people who were 
> determined to learn handspinning so they could re-create the very fine linen 
> threads of 200 years ago. They’d take the class and buy the equipment and the 
> hank of flax and you’d never hear from them again, and I’m not surprised. I 
> tried it once and with great difficulty I was able to produce a fair-quality 
> baling twine ;-)
> 
> I must say that I love to use linen thread and I don’t notice the slubs in 
> the finished lace. Maybe I’m just so used to them, maybe it’s because 
> mangling makes the lace look different, maybe they just don’t bug me the way 
> they do you. I don’t know! You’re right in thinking that you will risk 
> breaking the thread by picking out the slub. The thread will also be less 
> twisted in the place where the slub used to be, and will be weaker in that 
> spot as a result.
> 
> This probably doesn’t help much, but since the list is quiet I thought 
> nobody’d mind.
> 
> Adele
> West Vancouver, BC
> (west coast of Canada)
> 
>> Hello All!  May I ask what brand linen thread you are using & why?  I'm a 
>> bit steamed to find big hunks of lint stuck in 90/2 linen thread & unsure of 
>> whether to pick it out & risk breaking the thread or cutting it out & adding 
>> a new bobbin.  While I realize that linen was nicer in the "good old days", 
>> I'm concerned that there seems to be so little quality control for thread 
>> that is now $xx a spool!  Is one brand doing a better job of it than another 
>> or is this just the new normal?  Comments?  Suggestions?  Many thanks.  
>> Sincerely, Susan Hottle USA 
> 
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[lace] Quiet list.

[Kathleen Harris]

Hello everyone,

I have been busy too! I have just been to Bruges for a week, making lace. There 
were twenty of us, staying in the Beguinhof, with Anne-Marie Verbeke-Billiet as 
our tutor. There were six types of lace being worked, and plenty of fun and 
friendship in between times. 

This weekend I am going to our Guild retreat. Guild members stay in a local 
hotel from Friday afternoon to Sunday afternoon. We have four tutors, teaching 
various textile techniques - but no lace of course. And next weekend is the 
Braid Society AGM, hosted by the braiding group I belong to. So,, yes, a busy 
time, but lots of chances to catch up with friends, as well as practice crafts.

Best wishes
Kathleen
In Berkshire, UK


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Re: [lace] Hermitage Russia

[Kathleen Harris]

I seem to remember that there was quite a bit of lace on display in the 
ethnographic museum. Can anyone confirm this? It is a few years since I was 
there!
Best wishes
Kathleen
In Berkshire, UK, where we have summer at last!


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> On 14 Aug 2016, at 13:04, Nathalie  wrote:
> 
> Hello everyone,
> 
> A dear friend of mine is visiting Russia. She wondered if there's lace
> on display in the Hermitage. If so, is there also a catalogue?
> 
> Thank you!
> 
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Re: [lace] Survey Request

[Kathleen Harris]

Helen,
This is interesting!

I am 1D, and 2B.

Best wishes
Kathleen

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[lace] Idrija lace pillows

[Kathleen Harris]

Thank you Sue and Cynthia for your replies. I am working on a small flat 
pillow, and managing quite well. I don't have a problem with the sewings, 
though I can see that they would be easier on the curved pillow. I would love 
to see a Slovenian pillow  being used to see how it is moved about. Have you 
watched in real life, Cynthia? I should probably look on YouTube. I cannot see 
how a big piece is managed.

Best wishes
Kathleen

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[lace] Idrija lace, etc.

[Kathleen Harris]

I have been inspired by the pictures of lacemakers in Slovenia to start on a 
new piece of Idrija lace. I haven't made any for a while! It struck me once 
again, how different the way of working is on a Slovenian cylindrical pillow in 
a basket. Has anyone, used to working on a flat pillow, tried a Slovenian one, 
and if so, could you easily adapt to it, at least when working Idrija lace with 
only six pairs of bobbins? I am wondering whether to try to buy or make this 
type of pillow.

Inspired by the bookmark exchange, I have been thinking about Torchon designs 
for next year's exchange. I am also working on one of Jenny Heston's wall 
hanging designs, and helping a friend to learn Bucks Point Ground! We modern 
lacemakers are so lucky to be able to learn so many different laces - so 
different from our ancestors, making perhaps only a few patterns, in one sort 
of lace.

Kathleen
In a stormy and very wet Berkshire, UK

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[lace] Bookmark exchange

[Kathleen Harris]

I have received a beautiful Torchon lace bookmark from Jenny Brandis. It is 
worked in shades of pink, with a very complex design - very elegant. Thank you 
very much, Jenny.

I am so looking forward to the pictures of this exchange, and to the next 
exchange.

Kathleen
In a very wet, dull and chilly Berkshire, UK

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[lace] Bookmark exchange

[Kathleen Harris]

I have received a beautiful and delicate point ground bookmark from  Lorri 
Ferguson. Thank you very much, Lorri, and thank you Lin for the organising!
 
Kathleen
In a warm, wet and humid Berkshire, UK

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[lace] Aurifil thread

[Kathleen Harris]

I have used Aurifil 28 and like it very much. It does have a silky sheen to it. 
I would have no hesitation in using the other thicknesses. I particularly like 
the variegated colours, one of which I have used for one of my exchange 
bookmarks.

Kathleen
In a dull, damp Berkshire, UK

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> On 31 May 2016, at 23:48, Anna Binnie  wrote:
> 
> I have just discovered Aurifil. It comes from Italy and it comes in 3 sizes 
> 28, 40 and 50. The DMC equivalents are, Broder Machine 30  = Aurilil 28 and 
> Broder 50  = Aurifil 50. best part is that if you are working Flanders or 
> Point Ground laces, the Aurifil 50 and 28 can be used together as base thread 
> and gimp. Oh it also has a silky shine when worked up.
> 
> Check out you local quilting shops. They have huge colour range as well.
> 
> Anna in Sydney where winter has finally come and rain for the first time in 
> months!
> 
>> On 31/05/16 4:36 PM, Janis Savage wrote:
>> Dear spiders worldwide
>> 
>> As the number of fine threads in colour are diminishing just as coloured lace
>> is becoming more popular, can anyone tell me of a good replacement for DMC
>> Broder Machine 50 in colours.
> 
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[lace] Bookmark exchange

[Kathleen Harris]

I have received a beautiful tatted bookmark from Lin Hudren. It is red and 
purple, with added sparkle! Thank you Lin, and for organising the exchange, 
which I am enjoying so much.

Kathleen
Berkshire, UK

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[lace] Bookmark exchange

[Kathleen Harris]

I have received a lovely bookmark from Sue T! It is very fine Torchon, mounted 
on red, very delicate.

I am just about to package my four, ready for the post on Tuesday.

Kathleen
Berkshire, UK

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Re: [lace] OIDFA Congress

[Kathleen Harris]

Dear Jeri,

How I wish I could be in Slovenia attending the congress and meeting you and 
other Arachne members. I have made some Idrija lace and want to do more and 
would love to have learned more about it and the lacemakers who make it. But I 
am a few years ahead of you in age and not an experienced traveller, so decided 
I couldn't manage it. I am almost regretting my decision - but maybe next time, 
in Bruges, which I know well.

I hope you have a great time and meet up with many Arachne members. I hope to 
hear all about it in due course.

Kathleen
In the UK



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> On 17 May 2016, at 16:51, jeria...@aol.com wrote:
> 
> It is too quiet again.  So, let me ask
> 
> Will you be attending the OIDFA Congress in Slovenia?  This is an  
> *invitation* to meet me !
> 
> There is no one I know in Slovenia whom we could ask  to coordinate a group 
> meeting.  However, I'd love to meet you  individually.  Look for a 5' 2" 
> woman nearing  age 80, in a very bright pink hat, which I'm planning to wear 
> every  day in order to be found.
> 
> Please approach me and introduce yourself.  Know that if I'm with  someone, 
> it is possible that the other person will also be an Arachne  member.  
> Hoping this will add some hugs and extra sunshine to your  experience.
> 
> Jeri
> 
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Re: [lace] lace photos

[Kathleen Harris]

Some of the patterns are lovely, and I noticed that some prickings are marked 
ROK. I think that is a Spanish lace organisation or is it a pattern producer? 
Are these patterns available in the UK? Maybe they belong to a Spanish lace 
organisation.

Kathleen, in sunny Berkshire, UK

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> On 6 Sep 2015, at 21:54, Lorelei Halley  wrote:
> 
> From a lace day in Spain today. Mostly torchon.
> https://picasaweb.google.com/115442612146497018188/6DeSeptiembreDe2015?feat=c
> ontent_notification#
> 
> Lorelei
> 
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Re: [lace] Sukanec za Klekljanje thread for Idrija lace

[Kathleen Harris]

Sue, 

Sukanec za Klekljanje Idrija is in Brenda Paternoster's book as Textil za 
Turizem, Sukanec za Klekljanje Idrija No 60 and is 25 w/cm. so, I think your 
Idrija thread would be suitable for any lace that requires a thread of about 25 
w/cm. 

For Idrija lace, I am using Filato per Tombola di Cantu no 40, which is no 
longer produced! It is 32 w/cm, which I use because I like a slightly finer 
lace. They are both cotton. 

I hope this helps.
Kathleen in Berkshire, UK





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> On 11 Aug 2015, at 18:16, hottl...@neo.rr.com wrote:
> 
> Hello All!  This thread is 30/2 cotton.  Has anyone else used it for projects 
> other than Idrija & is there a comparison w/cm?  Many thanks.  Sincerely, 
> Susan Hottle, Erie, PA USA
> 
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Re: [lace] Torchon and direction

[Kathleen Harris]

I think that many laces are worked with the back uppermost, so that swings etc 
are on the back when the lace is complete. With Torchon, it makes sense, as 
Jean says, to work it in this way, if you are making a square mat, for 
instance, which will have a long join across a corner. But for many bookmarks 
and edgings, it really doesn't matter which way up you work.

I was taught to work Bucks with the back uppermost, though I cannot see that it 
is necessary for most pieces, especially those that are not joined, but finish 
by taking the pairs out gradually at the end. I don't think anyone has 
mentioned Beds, and I have done very little. I would be interested to know 
whether it is worked back uppermost. Looking at the structure, perhaps it 
wouldn't matter? 

Kathleen, 
Berkshire, UK

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> On 6 Aug 2015, at 08:13, Jean Nathan  wrote:
> 
> I always thought that the reason for working some laces from the back was for
> several reasons including:
> 
> Sewings joining end to start is on the wrong side and so is the sewing in of
> ends.
> 
> The very short ends of threads thrown out and cut off weren't visible from the
> right side.
> 
> if you need to add a pair in the middle of cloth/linen stitch by 
> hanging them
> each side of a thread, the loop across that thread was on 
> the wrong side and
> didn't show on the right side.
> 
> If you're going to mount your lace on a backing and send the long threads cut
> off when you've finished through to the back of the mounting material, the
> threads are already on the back of the piece.
> 
> Jean in Poole, Dorset, UK
> 
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Re: [lace] spiders in lace

[Kathleen Harris]

I was taught to remove the centre pin of the spider, and carefully tension the 
innermost threads. This removes the hole and leaves a nice flat spider. 

Kathleen, in sunny Berkshire, UK

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> On 1 Aug 2015, at 16:25, d2one...@comcast.net wrote:
> 
> In researching material for a workshop on torchon spiders for our guild, I 
> came across Gertrude Whiting's directions for "Plain Torchon Spiders", for 
> what is elsewhere described as(three-legged or two-legged) spider ground or 
> spider filling. "Pins are used in the center of the spider bodies only. These 
> centers should be raised to give an arched effect. This is done after the 
> first half of the spider body is woven, by holding the pairs nearest the pin 
> up high and tight against it while closing it...and pulling the outer pairs 
> up tight..." : contrary to more modern instructions to remove the pin and 
> smooth the spider center down. Does anyone try for that raised effect in 
> spider ground nowadays? 
> Doris O'Neill Chicago Area. 
> 
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Re: [lace] Pins

[Kathleen Harris]

I agree that you cannot always leave the pins in if working a narrow edging on 
a roller pillow. For that reason, I changed to a block pillow. But I do think 
that thread sets in its position in lace. If you come to your lace one morning, 
and find that you made a mistake the previous day, and take it back to that 
mistake, you will find that the threads have developed a kink round the pins, 
and have "set" into that place.  They will soon take up their new position, 
however. 

Whether the appearance of the lace is improved by the pins being left in for 24 
hours, or not, I do not know. But it can do no harm, when it is possible. 

When knitting has to be undone, and the yarn used for something else, it must 
be skeined, damped and hung up, weighted to straighten out the kinks resulting 
from thevpreviousvknitted stitches.

Kathleen

Sent from my iPad

> On 18 Jul 2015, at 14:01, Malvary Cole  wrote:
> 
> Kathleen wrote The pin question isn't the sort of thing that is 
> taught - except that I was told always to leave pins in for 24 hours, to 
> allow the thread to"set" in place.
> 
> I would make a couple of points - this is a question which crops up from time 
> to time and usually generates lots of response.
> 
> First of all if working on a length of lace on a roller pillow (and less so 
> on a block pillow depending on the size of both the block and the lace), pins 
> do not stay in the lace for 24 hours, probably an hour or two if you are 
> sitting at a long session of lacemaking.  Pins get taken from the back and 
> put in at the front.
> 
> Secondly - lace isn't jelly, it doesn't need to set.
> 
> Thirdly - I agree that if I'm making a bookmark or motif I leave the pairs in 
> round the edges - lace does shrink back a bit when the pins are taken out, so 
> it makes more sense to take out the edges at the same time.
> 
> Malvary in Ottawa, Canada where we have heat warnings for the weekend - high 
> temperatures, but even higher humidity. 
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Re: [lace] Pins

[Kathleen Harris]

Hi Sue, 
I don't belong to a class or group, so I have developed my own way of working 
over the years. I was curious about how other lacemakers worked. The pin 
question isn't the sort of thing that is taught - except that I was told always 
to leave pins in for 24 hours, to allow the thread to"set" in place. I have 
been persuaded to teach a friend to make lace, much against my better 
judgement! But she is an accomplished crafts woman in other fields, and is 
doing well. I have realised that this is the sort of thing that I must remember 
to tell her, and not just how to work the stitches!
Best wishes
Kathleen

Sent from my iPad

> On 18 Jul 2015, at 11:34, su...@talktalk.net wrote:
> 
> 
> I do the same as you Kathleen,
> Sue T in sunny Dorset UK
> 
> www.hurwitzend.co.uk
> 
> 
> I was sitting at my lace pillow, moving pins from the back of my lace to my 
> pincushion, when I started wondering. How long do other lacemakers leave the 
> pins in their work? When making Torchon or Flanders lace,  I leave the pins 
> round the edge, and push them right down. I start to remove pins from the 
> back of the lace after working 1.5 - 2 inches. With finer or non-.geometric 
> lace I leave them in longer, and try to judge where I think the threads might 
> pull, so that I can guard against this. What do you all do?
> 
> Best wishes
> Kathleen
> In sunny Berkshire, UK.
> 
> Sent from my iPad
> 
> 
> 

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[lace] Pins

[Kathleen Harris]

I was sitting at my lace pillow, moving pins from the back of my lace to my 
pincushion, when I started wondering. How long do other lacemakers leave the 
pins in their work? When making Torchon or Flanders lace,  I leave the pins 
round the edge, and push them right down. I start to remove pins from the back 
of the lace after working 1.5 - 2 inches. With finer or non-.geometric lace I 
leave them in longer, and try to judge where I think the threads might pull, so 
that I can guard against this. What do you all do?

Best wishes 
Kathleen
In sunny Berkshire, UK.

Sent from my iPad

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Re: [lace] Question

[Kathleen Harris]

I was in Bruges last October, and can confirm what Achim says. The Kantcentrum 
and its museum have indeed moved, because the owners of the property, in which 
it used to be, wanted to sell the building. The new centre is modern, light and 
friendly, and the museum is excellent. There is modern and old lace on show, 
interactive displays, a film of the history of lace, displays of pillows and 
other equipment. We were a group of twenty, and most, if not all, visited the 
museum and I think all agreed that it was excellent, and that the displays 
interested both lace makers and tourists alike. Our tutor was Anne-Marie 
Verbeke, who was very interested to know what we thought of the new museum, if 
we visited it. We were able to reassure her that it was really good! Also, it 
is still possible to visit the classes In the centre, and watch lace being 
made, if you are there at the right time.
 
The shop in Baalstraat, (opposite the Kantcentrum,) which is called 
t'Apostielente, is full of genuine hand made lace for sale, both modern and 
antique, at, as Achim says, reasonable prices. It also has a full range of 
lacemaking supplies. There are one or two shops in the centre of Bruges which 
sell genuine hand made lace, with certificates of authenticity. I can't 
remember their names at the moment, but maybe someone else can.

Kathleen
In Berkshire, UK
Sent from my iPad

> On 7 Jul 2015, at 08:04, deeporne beardsley  wrote:
> 
> Hi all,
> 
> I was in Brugge 15 yrs ago and really enjoyed the lace museum.  I visited
> the city again last month and was disappointed to find that the museum was
> no longer there.  Furthermore, stores were selling most lace pieces for
> really cheap, too cheap to have been made by hand, in my opinion. However,
> there were few pieces that appeared to be handmade from the look of pin
> holes.
> 
> Can anyone shed some light on the state of lace in Brugge?  What is thebest
> city in the world these days to visit a lace museum or purchase lace? Thank
> you.
> Dee
> From sunny AZ but currently a PCV in Moldova
> 
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Re: [lace] Question about beads

[Kathleen Harris]

It would certainly happen both while you were making the lace and later, when 
it was being used, if you used sharp bugle beads. With the metal ones, I am not 
so sure. It would probably be fine in the making, but wear through the thread 
later. I don't think it would matter what thread you used - linen and silk 
would resist a little longer than cotton, but would break in the end, I think

Kathleen
In sunny Berkshire, UK, where we could do with some rain for the garden!

Sent from my iPad

> On 16 Jun 2015, at 10:11, AGlez  wrote:
> 
> I imagine that you mean that the thread can break while working with it...
> Or can it also happen that it breaks after you have made the lace, once you
> are using it?
> 
> I had never thought of this before until Pene asked. It has never happened
> to me... Do you think it can depend on the type of thread you use? Some are
> more resistant than others...
> 
> Best wishes from a curious lacemaker from Spain
> --
> 
> Antje González
> www.vueltaycruz.es
> 
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RE: [lace] Question about beads

[Kathleen Harris]

I have not used beads in my lace very often, but I find that bugle beads -
the long slim ones - often cut the thread when I am beading! And that is
nylon beading thread. I think that bugle beads are cut from a tube and,
unless they are very good quality, have sharp edges. It doesn't seem to
happen with other beads, which seem to be finished better. Of course you can
get an occasional bead with a chip, but that is very rare. It is bugle beads
which I tend to avoid, even in beading.

Kathleen
In sunny Berkshire, UK.

-Original Message-
From: owner-l...@arachne.com [mailto:owner-l...@arachne.com] On Behalf Of
pene piip
Sent: 15 June 2015 10:00
To: Arachne Arachne
Subject: [lace] Question about beads

I'm interested in hearing from anyone that has had the
experience of beads cutting the thread in their lace.

Please tell:
What size & type of beads were being used?
And what size & type of thread was being used?

Thanks,
Penelope
An Aussie lacemaker in Tartu, Estonia

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Re: [lace] 1931 lace making clip

[Kathleen Harris]

Yes, there are two pieces of lace being made, and, presumably, two lace makers. 
The patterns are similar, but one has tallies and one doesn't, and it is the 
different pillow covers which give the game away, as well as the fact that one 
lace maker puts her pins in more tidily than the other!

Kathleen 
In Berkshire, UK

Sent from my iPad

> On 25 May 2015, at 19:09, dmt11h...@aol.com wrote:
> 
> Oops. The piece with the tallies has the 5 nine-pin motifs per  scallop.
> 
> 
> In a message dated 5/25/2015 2:07:45 P.M. Eastern Daylight Time,  
> dmt11h...@aol.com writes:
> 
> Am I the only person who sees two different, although similar, pieces of  
> lace being made in this clip. One of them has tallies, and 3 nine-pin  edging 
> things on each head side scallop and is made on a pillow with a  strong 
> strip pattern. The other has 5 nine-pin edging things on each scallop  and no 
> tallies that I can see, and the pillow is light colored.
> Devon
> 
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Re: [lace] 1931 lace making clip

[Kathleen Harris]

I am sure it is Bedfordshire, because of the pattern, the pillow ( an East 
Midlands bolster) and because of the bobbins which are Bedfordshire thumpers.

Kathleen
In a dull but unfortunately still dry ( for the gardens) Berkshire.

Sent from my iPad

> On 25 May 2015, at 17:02, Bespokethreadsandyarns 
>  wrote:
> 
> Shared this on facebook. A British Pathe silent black and white clip of bobbin
> lace. Single handed! On facebook we had several say Lace type is Beds but one
> said Cluny. What do you all think?
> 
> Sue
> 
> http://youtu.be/IwcSaAXtZsc
> 
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Re: [lace] Trip to Europe - lace museums/centers to visit?

[Kathleen Harris]

The Kantcentrum museum in Bruges has been moved (only a little way) and 
remodelled . It opened last year and I visited last October. I was very 
impressed. It is modern, with exhibits of fantastic lace, and interactive 
displays of how lace, both bobbin and needle, is made. Well worth a visit. 
Upstairs, above the museum, there are often classes in progress, which you can 
visit and watch the lac being made. Downstairs again there is the Kantcentrum 
shop! 

Sent from my iPad

> On 7 Apr 2015, at 21:26, Brenda Paternoster  
> wrote:
> 
> Yes, it’s a nice museum but be aware that it’s not in central London,
> it’s in Blackheath which is about 8 miles from the centre of London, at
> least half an hour driving, but could be much more depending on the traffic,
> or 20+ minutes on the train - remembering that one of the London stations
> en-route is undergoing massive refurbishment and closures at present so rail
> travel is also likely to be subject to delays and diversions.
> 
> Brenda
> 
> 
>> On 7 Apr 2015, at 18:42, corinne  wrote:
>> 
>> There is a Fan Museum in London. It is small and has some beautiful lace
>> fans there. It might be a good idea to see if they will displaying any lace
>> fans when you will be visiting. The display apparently changes quite often.
> 
> Brenda in Allhallows
> paternos...@appleshack.com
> www.brendapaternoster.co.uk
> 
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RE: [lace] Lace society

[Kathleen Harris]

I received my copy on Saturday. 

Kathleen, in equally dreary Berkshire.

-Original Message-
From: owner-l...@arachne.com [mailto:owner-l...@arachne.com] On Behalf Of
Diana Smith
Sent: 01 December 2014 09:45
To: Arachne
Subject: [lace] Lace society

Is it just me or has anyone received this quarters newsletter from the Lace
Society? I received the one from the Lace Guild ages ago and usually the
society follows shortly after.

Diana Smith on another dull dreary day in Northamptonshire

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[lace] Teaching lace.

[Kathleen Harris]

I feel I must stop lurking and pass on my opinions on this topic. 

The best teacher I ever had was the late Marjery Carter, who taught me Bucks
point. She had been a maths teacher, and her opinion was that if you could
teach one subject, then you could teach anything, because you had the
necessary techniques and patience. But, of course, you had to know any
subject which you were teaching very well yourself. 

That does not mean to say that a non-teacher should not try to teach lace,
but it takes effort and a lot of thought. I am in this position myself at
the moment. A friend asked me to teach her to make lace. For a variety of
reasons there was no other way she could learn. I resisted, saying that I am
not a teacher, although I have been making lace for 45 years. But she
insisted, and so we began, just about a year ago. She is now making lace -
not perfect lace, but good lace - learning all the time and enjoying every
moment of it. We have a session every week and have just moved from Torchon
to Russian lace - she is Russian. We went slowly at first, while I felt my
way into teaching. I think we have been successful because of this, because
she is skilled in other crafts and because she so passionately wants to make
lace. But there is no way I would try to teach a class - one-to-one is quite
different.

The worst teacher I have heard of was the one a friend of mine started with.
She did not let her students start or complete a piece themselves. She began
every piece, and finished every piece. My friend came out of that class able
to make lace but unable to move forward. Luckily she found a better teacher
and became an excellent lace maker - but only because she was determined and
passionate about lace.

Kathleen
Berkshire, UK


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[lace] Jeri's posts

[Kathleen Harris]

I do receive Jeri's posts, and they are all useful and informative, and always 
seem to teach me something new. So please do not stop sending them, Jeri.

But not every message, which appears on my PC, appears on my iPad. I haven't 
yet worked out which one's don't come through because there seems to be no 
rhyme or reason to it. Can anyone tell me why this might happen? By the way, 
Jeri's come through on both.

Kathleen
Berkshire, UK

Sent from my iPad

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[lace] Lace patterns

[Kathleen Harris]

Can anyone tell me whether the prickings for the patterns in the
Knypplerskan books are still available, and, if so, from where? I have the
books (parts I and II which were bound together and part III) and many of
the prickings, which I purchased from Mace and Nairn in the seventies. Now I
would like to make more of the patterns, but Mace and Nairn appear to have
moved, and seem no longer to supply lace prickings, but just embroidery
supplies. I have tried to contact them, and am waiting for a reply - so I
may be able to solve the problem directly. But I know how knowledgable the
members of this list are, and wondered whether one of you could help?

 

Kathleen

In Berkshire, UK, where we have sunshine and showers,

April weather in June!



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[lace] Care of fabrics - silk

[Kathleen Harris]

I told my daughter about this discussion, and she immediately confirmed that
lavender oil or eucalyptus oil will remove greasy stains from silk! Some
years ago she had a lodger who leaned against a dirty chain and got a bad
stain on the sleeve of a silk shirt. He told her to throw the shirt away
rather than wash it. In stead she put a pad of cotton inside the sleeve, put
lavender oil on the stain, and another pad of cloth on top of it. She
repeated this with fresh cloth morning and evening for two days and then
washed the shirt by hand as usual - and the stain was completely removed.
Her theory is that the plant oils draw the dirt from the stain into the
cloth as they evaporate, leaving just the grease behind - and that can be
washed out conventionally. She has used this method on more than one
occasion and assures me that it works!

 

Kathleen, in Berkshire , UK



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[lace] Care of fabrics

[Kathleen Harris]

I too remember the bran treatment for tweeds and upholstery! I also know
that talcum powder (powdered magnesium silicate) was recommended to clean
lace and other delicate fabrics. I am sure that I have heard that
recommendation a lot more recently than the 1940's. I believe it is also
recommended to clean soft toys which cannot be washed, such as old teddy
bears.

 

I have never heard of the oil of eucalyptus treatment for silk, and cannot
imagine it being used. My mother certainly washed silk conventionally. In
the 1940's, I had a "best" dress made from my mother's wedding dress, which
was dark beige silk - and that was washed by hand. I wish I had that dress
now - it was lovely!

 

Kathleen in sunny Berkshire, UK



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[lace] Prickings

[Kathleen Harris]

Sorry - that should be linen ends, not line ends!

 

Kathleen

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[lace] Prickings

[Kathleen Harris]

I also started my lacemaking (in 1970) with pre-prepared prickings on glazed
card. These were sometimes bought, or made by pricking very carefully and
accurately through another pricking. The books I started with were Maidment,
and Mincoff and Marriage. Then came new books by Doreen Wright and Pam
Nottingham, and I learned how to chart patterns on graph paper, or to
photocopy them from a book. At first the chart or photocopy was pinned onto
glazed card and pricked through. Markings were added with a fine Indian Ink
pen. I first went to a class  with Marjory Carter in 1980 and I can remember
how very particular she was about making an accurate pricking. 

 

I can't remember when I first used blue film over a photocopy, but it made
life so much simpler! All the markings were clearly visible, no need to draw
them in. I sometimes stuck the photocopy onto thick paper before covering
it, and it was then necessary to prick first, before using the pattern. But
if I wanted a "quick fix" and was planning only to use the pricking once, I
didn't bother - I just pinned the covered photocopy onto the pillow and
pricked as I went. 

 

Nowadays, I still sometimes design a pattern on graph paper, and then I
usually prick through onto card. So I use both methods, ancient and modern.

 

I have two parchment prickings. One is a narrow Bucks point fan edging. The
other is a 2.5inch wide Bedfordshire edging which has line end pieces sewn
on - I have forgotten what they are called. Both prickings have been tightly
rolled, and I have wondered whether they could ever be unrolled and used. I
imagine that the parchment would have to be treated in some way to soften
it.

 

Kathleen

In sunny and cold Berkshire, UK

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[lace] Lace teachers

[Kathleen Harris]

A couple of points have occurred to me while reading this subject. Firstly,
not every teacher will "click" with every student. Some students will learn
better from one teacher than from another.

 

The second point is that some teachers are not so good at teaching the
techniques of lace-making, but are inspirational when it comes to design.
One in particular,  I saw giving a class, which was in my opinion awful.
Nevertheless,  her work, and attitude to design, inspired me to start to
design "free" lace for myself - and that was a huge step for me.

 

Kathleen

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[lace] Teachers

[Kathleen Harris]

I was lucky enough to start my lace-making life with Nena Lovesey. She lent
me bobbins and a pillow and started me off on Torchon lace. I couldn't
attend a regular class, but saw Nena quite often, and learned so much from
her, not only about making lace but about its history. I carried on on my
own with books by Doreen Wright and Pam Nottingham. I tried Bedfordshire
lace, but hated it - I love its appearance, but not all those plaits and
picots! 

 

I wanted to make Bucks, but decided I needed a teacher, and signed up for a
week-long class with the late great Marjory Carter, in my opinion, the best
teacher I have ever met. I took a week-long course with her for many years,
progressing to floral Bucks, and enjoying every minute.

 

More recently, I moved to Belgian laces, and am lucky enough to go to Bruges
most years, with the Mole Valley lace group. I have studied Flanders lace
with Anne-Marie Verbeke-Billiet, and Duchesse with Marie-Anne
Claeys-Baekeland. They are both wonderful teachers, but Marie-Anne has
recently retired from teaching. I have just returned from a week in Bruges -
I returned to Flanders after a long break and Anne-Marie was just as
inspirational as ever. Lace means so much to her, that she puts herself
completely into passing on her knowledge, and seems to be able to help every
student, at whatever stage they are at, in their lace.

 

Kathleen

In a very wet and windy Berkshire, UK

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[lace] Silver bobbins

[Kathleen Harris]

Dear David and all,

 

I have been in contact with Rhona, Frank Newborn's daughter. She and her
mother have been delighted to hear how his work is valued by lacemakers and
tatters. But she told me that she never made bobbins. Her contribution was
to advise her father about lace and to test his bobbins. So the RKN in the
silver mark on my silver bobbins does not refer to her, and I am no nearer
knowing who made them. But it was very nice to receive her delightful
letter.

 

Kathleen

In sunny Berkshire, UK

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[lace] The difference between boys and girls in crafts

[Kathleen Harris]

Tess's comments on the differences between boys and girls in making lace,
and the differences between men and women watching lace being made prompt me
to relate my experiences when demonstrating spinning. If a boy is
interested, he wants to know first how the wheel works. Some boys work it
out for themselves, others ask. Then they may or may not want to have a go.
Girls usually want to know what the yarn can be used for, where I get the
wool from to spin. Then they often want to have a go.

 

Returning to lace - I once demonstrated lace making at my niece's junior
school. One boy was really keen to have a go. His teacher was not far away,
and was obviously keeping an eye on him. I can't remember what piece of lace
was on my practice pillow, but he sat down, listened, learned and made lace!
It was an immediate feeling for process. Some time later, we had to persuade
him that perhaps someone else would like to have a go, and reluctantly he
left. His teacher came to me and said that the boy was her most difficult
pupil, and she had never known him either to sit still for so long, or to be
quiet for so long. Unfortunately I didn't live close enough to pursue the
lesson, but I hope that his teacher did pick up on what helped that boy to
concentrate on learning - I feel sure she did.

 

Kathleen

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[lace] Lace and maths

[Kathleen Harris]

Could I suggest that many lace makers are problem solvers. This would
include mathematicians, and many scientists. I love puzzles of any kind but
especially logic problems, and when I am making lace, I can see a
problem-solving element in the process, even in a simple piece of Torchon. I
can also see a connection between this and design - where should I place
this element of my design? - whether it is lace, any other textile, or
something more solid which requires engineering skills as well.

 

But, as in every other field, not every lace maker is a mathematician or a
puzzler, and not every mathematician or puzzler makes lace, though it might
give them a head start if they wanted to learn.

 

Kathleen

In Berkshire, where it is too hot to make lace at the moment, but I hesitate
to complain!

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RE: [lace] Silver bobbins

[Kathleen Harris]

Dear David,

That is wonderful! I had thought that the "N" might not be just a
coincidence, but didn't think (or know how) to look into the family tree.
Now it does seem likely that my bobbins were made by Rhona. It doesn't seem
as if she did much silver work, as the assay office only know her by her
initials.

Kathleen

-Original Message-
From: David C COLLYER [mailto:dccoll...@ncable.net.au] 
Sent: 29 May 2013 15:56
To: Kathleen Harris; lace@arachne.com
Subject: Re: [lace] Silver bobbins


>Dear Kathleen,
>
>Now, of course, I want to know who made my bobbins, who RKN is! I wonder if
>anyone on the list can help.

Having had a bit of a look into Frank W. NEWBORN's family tree, I 
found that he only had the one daughter and her name was - wait for it -

Rhona K. NEWBORN.

I found no marriage for her but I bet you she's the maker of your bobbins!!!

David in Ballarat, AUS

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[lace] Silver bobbins

[Kathleen Harris]

The correspondence about Frank Newborn inspired me to examine my two silver
bobbins - I wondered if they had been made by him. They were given to me by
my late husband to commemorate our silver wedding in 1985. One has an
inscription, the other is turned and decorated. They both have birdcage
spangles, which I am sure were added by the maker. I am also sure that we
contacted the maker through an advertisement in The Lace Guild magazine. 

 

I have been able to decipher the hallmarks and they were assayed by the
London assay office in 1984. The maker's mark is not FWN but RKN. I have
looked him/her up in the list of marker's marks, and he is listed as a
London maker, but only by his initials, with his mark seen on a decanter
label in 1982.

 

Now, of course, I want to know who made my bobbins, who RKN is! I wonder if
anyone on the list can help. 

 

Kathleen

Berkshire, UK

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[lace] How many kinds od lace?

[Kathleen Harris]

I make mainly bobbin lace, but I also tat and learned about 70 years ago,
but tatting took a back seat when I discovered bobbin lace. I have made and
enjoyed needlelace, and have always intended to do more, but again, I am
afraid bobbin lace comes first. I can crochet and I do a lot of knitting,
but I haven't tackled knitted lace.

 

I am also a spinner, and have made lace with handspun yarn, and would like
to do more of that too. 

 

Kathleen

In Berkshire, UK, where the snow has almost gone, the wind is a little less
bitter, and the temperature a little bit above freezing.

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RE: [lace] Lurking, and enjoying.

[Kathleen Harris]

Thank you Margery, I will try to remember that next time I think I may be
able to offer some information.

Kathleen

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[lace] Lurking, and enjoying.

[Kathleen Harris]

I post very rarely. I am an experienced lacemaker (43 years) but I am not a
teacher. I usually find that, by the time I have put my reply to a query
into words, someone more used to teaching has replied to the query in a
clearer way!

 

But I do enjoy reading the list very much, and the last few days of
discussion have been wonderful. The list keeps me in touch with lace and
lacemakers. There are a couple of local groups, but I cannot reach them on
public transport - and I don't drive. So, it is the list which keeps me in
touch and inspires me to make lace sometimes. I find that without meeting up
with other lacemakers to discuss lace, there is not the necessary
stimulation.

 

I think a commemorative cover cloth would be the ideal celebration of our 20
years. I usually use continental shaped bobbins, so I wouldn't use a
spangled bobbin and so wouldn't see it very often. But a cover cloth is
there all the time.

 

Kathleen

In Berkshire, UK, where it is raining yet again. I am very glad that I live
on the top of a hill!

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RE: [lace] washing silk

[Kathleen Harris]

Some years ago, I used to dye silk scarves with acid dyes in a microwave.
After dyeing, I washed them in a good quality washing up liquid, or a hand-
wash liquid, rinsed once, and then rinsed again with a small quantity of
vinegar in the water. I still have some of these scarves myself, and always
wash them in the same way - they seem to survive this treatment very well.

I add a little vinegar to the final rinse for wool too. I live in an area
with hard water, and a final slightly acidic rinse is supposed to be better
for wool and silk, than my hard water.

Kathleen
Berkshire, UK

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[lace] Current project

[Kathleen Harris]

I  have just finished one of Cathleen Belleville's rosalibre  designs to be
mounted as a brooch. I was so pleased with it, although it was the first
"complete" piece I have made, that I immediately started another one. It
hasn't got very far yet, because I was side-tracked into knitting up some of
my hand-spun stash. I wish Cathleen would take rosalibre lace further -
there does seem to be more potential in it, but I won't feel competent to
take it further myself until I have done quite a few more pieces - maybe one
day.

 

The next project is another of Jenny Hester's hangings. I have made two
already, and another couple of her designs, which I love. They are Torchon,
but always with a quirky twist somewhere, and I really am looking forward to
working the next one.

 

Best wishes

Kathleen

Near Reading, England, where it is, at last, a bright and dry morning.

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[lace] Nearly finished

[Kathleen Harris]

I usually try to finish one piece at a time, but must admit to having two
unfinished at the moment. One is a large Bruges flower lace mat, and I have
just run out of team on that, and the other is a "free" lace piece that I
know is going to be difficult to finish off - it is waiting for me to have
lots of patience.

 

Otherwise, I too slow down towards the end of a project, worrying about
finishing, which I think can ruin an otherwise good piece of lace. But I
always have another project in mine, and eagerness to start it spurs me on.

 

Kathleen

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[lace] machine/handmade lace

[Peter and Kathleen Harris]

I would think that the worst of the poverty happened at the period when
machine made lace was taking over from most of the hand made lace, so that
the lace workers were paid very little for a skill no longer of value to
most people. The lace dealers must have gone out of business too. 

 

The lace makers were making lace whether they enjoyed it or not, and many
must have been glad to finish with it, hence they burned their bobbins,
seeing no use for them. We make lace because we enjoy it, and not all of the
lace workers would.

 

Does anyone know whether there were any fundamental differences between the
handmade lace industry in Devon and that in the Eats Midlands?

 

Kathleen

In England, where it is raining yet again!

 

I

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[lace] machine/handmade lace

[Peter and Kathleen Harris]

I would like to address Lorelei's comment that the lacemakers working by
hand were often illiterate. My understanding is quite different. In the
English villages where lace was made, many of the children, both boys and
girls, were sent to lace schools. Lacemaking was taught, but also basic
reading, writing and arithmetic, this being necessary to justify them being
called schools. As soon as the boys were old enough to work on the land,
they left school, but the girls stayed on to make lace and to learn more
about lacemaking and about the three R's. The girls therefore were much
better educated than the boys. I also believe that lacemaking was one of the
better jobs to have, being clean and relatively well paid. When the girls
grew up and married, they were able to continue to make lace at home.
Therefore they were benefitted their families in two ways - they were able
to earn, while staying at home, and they were able to manage the family
finances well, because they had been educated to a higher level than most
other women at that time.

 

But lacemakers of course had to make the same pattern, whether yardage or
motifs, over and over again, sometimes for their whole lives. Onle the more
skilful could progress to new designs, and, I imagine, earn more. We are so
lucky to be able to make lace as a hobby, and try not only whatever pattern
we want in our chosen lace, but also any type of lace too.

 

Kathleen

In England, where summer seems to have come at last.

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