Now that I am thinking about it, I recall that there was a movement to
improve the design of Honiton lace and some nice Art Nouveau looking designs
were
produced and encouraged by Lady Trevelyan.
I guess the fact that my trip is a northerly trip, not going to the west
country, where I long
Alan Brown has written 2 studies based on Cole's work. They are:
'Lace and the Emerald Isle' (ISBN 0 9535 2066 8) and 'The Honiton lace
industry in 1887; an illustrated snapshot from Queen Victoria's jubilee
year' (ISBN 0 9535 2065 10).
On Monday, February 5, 2007, at 04:22 AM, Laurie Waters
Please don't forget the extensive work of Alan Summerly Cole
(http://www.whistler.arts.gla.ac.uk/biog/Cole_AS.htm), who corresponded with
William Morris and was a close friend of Whistler. He is a seriously
neglected, but extremely important author on lace, specializing in the Irish
lacemaking indu
Because Morris and Ruskin and the rest of the "head in the clouds"
crowd
Let's not forget that it was not Ruskin who started Ruskin lace, it was
Marion Twelves, the housekeeper of one of his associates (Albert
Fleming), who helped develop a flax-spinning & weaving industry, and
then developed
On Feb 4, 2007, at 21:04, [EMAIL PROTECTED] wrote:
Vis a vis your question about Scottish lace. [...]
One thing I can't figure out is why the Art Nouveau and the Craftsman
movement which produced Modernista lace in Spain, Aemilia Ars in Italy
and
the laces of the Weiner Werkstatte and the
