RE: [lace] A Rembrandt discovered due to the lace

2019-03-10 Thread Laurie Waters
Working on the LaceNews article - forgive me, been feeling a little under
the weather this week. Might be the flu...
Laurie



Date: Wed, 6 Mar 2019 10:12:04 + (GMT)
From: Catherine Barley 
Subject: Re: [lace] A Rembrandt discovered due to the lace

Fascinating article and thank you Jeri for asking Devon to post it on
arachne.  I've read the latest post about many thinking the collar to be
that of needelace and not bobbin lace but can only get the NYT article on my
laptop and not my iPad, where I was hoping to enlarge the portrait enabling
me to pass an opinion as to whether I think it is needlelace or not, but
unfortunately neither mine or my husband's iPad will allow!  I shall be
watching with interest the discussions on Lace News.

Catherine Barley UK


Catherine Barley Needlelace
www.catherinebarley.com

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Re: [lace] A Rembrandt discovered due to the lace

2019-03-06 Thread Adele Shaak
OK. I’ve been reading Santina Levey this morning, and I think the collar in the 
Jan Six XI Rembrandt is indeed bobbin lace. Read Levey's remarks on Flemish 
bobbin lace on p. 23 and take a good look at plates 112 and 135 - 140. The 
Flemish falling collars are specifically mentioned as being made in bobbin 
lace, which was much softer than needle lace and very popular for falling 
collars. 

Plate 140 is another Rembrandt portrait, with a very similar collar, that she 
states is bobbin lace.

Plate 112 shows an early bedcover of part lace, and it is divided into squares, 
like reticella but the closeup shows that it is a bobbin-made part lace. When I 
started making lace I was told that the rectangular make-up was a sure sign of 
needle lace - but I can see that was wrong information.

There is one similar lace piece shown (plate 132, bottom), that is needle lace. 
To me it looks more fully filled-in, heavier & stiffer than the other pieces. 
If you look at the Rembrandt portraits, they often show the lace being casually 
curled up, as if wafting in a breeze. Needle lace didn’t do that. Softness and 
lightness were the hallmarks of Flemish bobbin laces at this time.

I don’t see any reason to challenge Levey over this, or the European expert 
that Jan Six XI consulted.

But, I haven’t read what the people commenting on the NYT article have said.

Adele
West Vancouver, BC
(west coast of Canada)

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Re: [lace] A Rembrandt discovered due to the lace

2019-03-06 Thread Catherine Barley
Fascinating article and thank you Jeri for asking Devon to post it on arachne.  
I've read the latest post about many thinking the collar to be that of 
needelace and not bobbin lace but can only get the NYT article on my laptop and 
not my iPad, where I was hoping to enlarge the portrait enabling me to pass an 
opinion as to whether I think it is needlelace or not, but unfortunately 
neither mine or my husband's iPad will allow!  I shall be watching with 
interest the discussions on Lace News.

Catherine Barley UK


Catherine Barley Needlelace
www.catherinebarley.com

Original message--
Subject : [lace] A Rembrandt discovered due to the lace

This article appeared in the New York Times magazine section this week. I
posted it on the International Organization of Lace's facebook page where
it has been very popular. Jeri Ames has encouraged me to post it on arachne
as well. Here is the link:
https://www.nytimes.com/2019/02/27/magazine/rembrandt-jan-six.html
There are several interesting things in this article. One is that the
dealer Jan Six XI was immediately attracted to the lace on the painting
which is a collar style that he claims was only in fashion between
1633-1635. 

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RE: [lace] A Rembrandt discovered due to the lace

2019-03-05 Thread Laurie Waters
This is going to need some photos, so I’ll write a LaceNews article about
it.

Laurie



From: DevonThein 
Sent: Tuesday, March 05, 2019 3:37 PM
To: Laurie Waters ; lace@arachne.com; Jeri Ames

Cc: lswaters...@comcast.net; bennin...@gmail.com
Subject: RE: [lace] A Rembrandt discovered due to the lace



Could Laurie share with us a bit of the discussion about why this is obviously
not bobbin lace?

Devon

Sent from Mail <https://go.microsoft.com/fwlink/?LinkId=550986>  for Windows
10

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RE: [lace] A Rembrandt discovered due to the lace

2019-03-05 Thread DevonThein
Could Laurie share with us a bit of the discussion about why this is obviously
not bobbin lace?
Devon
Sent from Mail for Windows 10

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[lace] A Rembrandt discovered due to the lace

2019-03-05 Thread Laurie Waters
If you will notice in the comments section on the New York Times article on
the Rembrandt, I've put in a comment saying that this is obviously not
bobbin lace, but needle lace.  The painting is so good that you can easily
tell.  This has been discussed a little offline, and others are agreeing
with me.

___
Laurie Waters
505-412-2873
lswaters...@comcast.net, lacen...@gmail.com

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[lace] A Rembrandt discovered due to the lace, Christian IV's laces of same period

2019-03-05 Thread Jeri Ames
Dear Historians - especially those new to the study of Lace,
The New York Times article from Devon leads me to recommend a book about the
period when Rembrandt was painting.  Devon mentions Sweden's king and the
wearing of a red ribbon to secure the end of a thin braid.  This is very
clearly depicted in the book Knipling.Lace.Spitz about Christian IV and Bobbin
Lace, which came with a separate folio of lace patterns from the 1600's, with
adaptations for use today.  Published in 2001, in Denmark, ISBN
87-988400-0-2.  Larger lace guilds may have book and folio in their
libraries.
Everyone interested in lace history of northern Europe, when national
boundaries were very different from today, should become familiar with this. 
It contains many originals and adaptations of lace patterns in color, but that
is not all.  It came with a separate large folio of lace patterns.  You can
recreate royal period laces for yourself or period costumes!  The cover of
the book shows Danish King Christian IV (1577-1648) with a braid and red
ribbon.  His lace collar over royal robes and jewels is spectacular.   

I would love to own a book of this quality published by Dutch lace experts -
focused on Rembrandt's paintings of lace.  Please!  Please!  Does such a
book exist?
Christian IV's sister, Anne of Denmark, was married to James the I (of
England) and VI (of Scotland) son of Mary, Queen of Scots.  Queen Anne is
featured in the 2013 book - In Fine Style, The Art of Tudor and Stuart Fashion
- by Anna Reynolds, 978-1-905686-44-5.  This book includes chapters devoted
to royal male fashions and laces.  Another informative book for costume
scholars is the 2008 book - Merchants, Princes and Painters, Silk Fabrics in
Italian and Northern Paintings 1300-1550 - by Lisa Monnas,
978-0-300-7-0.  Lace and silk were exclusive to royalty and the most
wealthy and powerful families in Europe.  Enjoy your research.
There is so little appearing on Arachne these days, that I have left the
letter Devon wrote attached to this for those who might like to make a copy to
put with the article in your files or enclose in referenced books.
As usual, I've sent bcc's to my private list of gmail users.  If someone will
comment on this memo, then the vast majority using gmail will know to look at
http://www.mail-archive.com/lace@arachne.com/index.html to find it.
Jeri Ames in Maine USALace and Embroidery Resource Center
In a message dated 3/4/2019 3:56:36 PM Eastern Standard Time,
devonth...@gmail.com writes:

This article appeared in the New York Times magazine section this week.
Iposted it on the International Organization of Lace's facebook page whereit
has been very popular. Jeri Ames has encouraged me to post it on arachneas
well. Here is the
link:https://www.nytimes.com/2019/02/27/magazine/rembrandt-jan-six.htmlThere
are several interesting things in this article. One is that thedealer Jan Six
XI was immediately attracted to the lace on the paintingwhich is a collar
style that he claims was only in fashion between1633-1635. I am extremely
impressed with his lace knowledge. Gunnel and Iactually did a bit of a survey
on Friday, over Skype, trying to prove ordisprove this theory using portraits
and we think he is pretty muchcorrect. There was an outlier in the form of a
Swedish monarch, but itmight be possible that the painting is not correctly
dated. Also a popularstyle at the time was a thin lock of hair with a red
ribbon which appearson two of the paintings.Another aspect of the article
deals with a purported Rembrandt habit ofpainting the white of the lace first,
then putting on the black. At onepoint I  was looking at the lace in
Rembrandts very acutely for an articleI never wrote, and I think I concluded
that he changed this pattern whenthe style of lace changed to be less heavy.
He painted for quite a longtime and lace styles changed.. Also, my theory is
that, given it was astudio situation with Rembrandt probably painting the eyes
and maybe thehands of the portraits but leaving costume details to others, I
am not surethat we can go overboard with identifying all the portraits that
have lacepainted this way as being Rembrandts.Apart from the interesting lace
details, is a story full of pathos abouthow members of the Six family have to
become guardians of the family artcollection, leading to inter-generational
conflict about framing, forinstance. They don't mention it, but I think that
the Six family are alsodonors to the Rijksmuseum's lace collection. These 17th
century laces ofthe 1630s are very hard to come by. I don't know that we have
any in ourcollection. However, Frieda Sorber tells me that she knows of some
inprivate hands and some will be loaned for Frieda's exhibit that is to
takeplace in Antwerp in 2020. I have been speaking nonchalantly in front of
myhusband about going to this exhibit as though it was a foregone
conclusionand he hasn't vociferously resisted the premise, so hopefully I may
seethem.Devon

-
To 

[lace] A Rembrandt discovered due to the lace

2019-03-04 Thread Devon Thein
This article appeared in the New York Times magazine section this week. I
posted it on the International Organization of Lace's facebook page where
it has been very popular. Jeri Ames has encouraged me to post it on arachne
as well. Here is the link:
https://www.nytimes.com/2019/02/27/magazine/rembrandt-jan-six.html
There are several interesting things in this article. One is that the
dealer Jan Six XI was immediately attracted to the lace on the painting
which is a collar style that he claims was only in fashion between
1633-1635. I am extremely impressed with his lace knowledge. Gunnel and I
actually did a bit of a survey on Friday, over Skype, trying to prove or
disprove this theory using portraits and we think he is pretty much
correct. There was an outlier in the form of a Swedish monarch, but it
might be possible that the painting is not correctly dated. Also a popular
style at the time was a thin lock of hair with a red ribbon which appears
on two of the paintings.
Another aspect of the article deals with a purported Rembrandt habit of
painting the white of the lace first, then putting on the black. At one
point I  was looking at the lace in Rembrandts very acutely for an article
I never wrote, and I think I concluded that he changed this pattern when
the style of lace changed to be less heavy. He painted for quite a long
time and lace styles changed.. Also, my theory is that, given it was a
studio situation with Rembrandt probably painting the eyes and maybe the
hands of the portraits but leaving costume details to others, I am not sure
that we can go overboard with identifying all the portraits that have lace
painted this way as being Rembrandts.
Apart from the interesting lace details, is a story full of pathos about
how members of the Six family have to become guardians of the family art
collection, leading to inter-generational conflict about framing, for
instance. They don't mention it, but I think that the Six family are also
donors to the Rijksmuseum's lace collection. These 17th century laces of
the 1630s are very hard to come by. I don't know that we have any in our
collection. However, Frieda Sorber tells me that she knows of some in
private hands and some will be loaned for Frieda's exhibit that is to take
place in Antwerp in 2020. I have been speaking nonchalantly in front of my
husband about going to this exhibit as though it was a foregone conclusion
and he hasn't vociferously resisted the premise, so hopefully I may see
them.
Devon

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