Figures in early lace

 

Many early laces from the 16th and 17th century depict people. Some are mythical creatures like gods, goddesses and putti and others are people in contemporary dress. They were made in a variety of types of lace and patterns were available in books such as Le Pompe, published in 1559 for bobbin lace, and Federico Vinciolo’s 1587 pattern book for needle and filet lace. The image above comes from a 1617 pattern book published by Cesare Vecellio and depicts the four seasons and some dancing figures. The seasons are shown in classical dress while the dancers wear contemporary clothes. The pattern is designed to be worked in needlelace.

These lovely corner designs are printed in the same pattern book and again are patterns for needlelace. The books would not have included any instructions for working the patterns, as it was assumed the ladies who brought them had the required knowledge to work them from these illustrations.

This angel is worked in needlelace and is a detail from an illustration in Elisa Ricci’s book on Italian lace designs. It was made in the 17th century and is made to appear more three-dimensional than the previous images with the incorporation of thicker threads around parts of the lace, such as the halo and the feathers in the angel’s wings.

Another illustration from the same book is this detail of a tablecloth made up of alternating squares of embroidery and lacis work. Lacis was popular in the 16th century and many books included patterns for this type of lace which is basically darning on fine net. The net was made first ensuring that the squares were all the same size by using a gauge. It was then held taut in a frame while the design was worked by passing a needle and thread through the holes in the net, to darn some solid areas and make more open looped patterns in others.

Figures could also be made in bobbin lace as you can see in this lace made from a pattern in Le Pompe. It is a complicated pattern and requires threads to be added and removed as it is worked. The original pattern would not have included any working instructions but Santina Levey and Patricia Payne in their book about the Le Pompe patterns included instructions for making the laces. Forty pairs of bobbins were used to make the lace and two different threads were used, a fine one for the figures and a thicker one for the plaits. If you are interested in early laces this book is very helpful because it describes the way early laces were made and also explains how to make lace prickings from the original woodcut patterns.

Inspiration from the gothic tale of Paul Ferroll

 

Much of my practice is inspired by gothic novels and in particular the way many of them critique the position of women in society. I tend to combine gothic tropes such as veiling and nets with lace to suggest some of these ideas. The image above shows a net curtain inspired by a little-known gothic novel entitled Paul Ferroll by Caroline Clive. The eponymous ‘hero’ of this novel murders his wife at the beginning of the story and evades justice at the end. My net curtain presents the voice of the murdered wife as she speaks from beyond the grave to give her side of the story. The idea being that the net has sieved her words out of the ether in the home where she remains a ghostly presence.

I am not the only one to find this story troubling. It seems a strange subject for a nineteenth century novel aimed at a mainly female readership. Many readers complained to the author about the outcome of the story, so when the book was republished she added an extra final  chapter in which Paul Ferroll, having escaped from prison and fled to America with the help of his daughter, caught a fever and died. The implication being that he was punished by natural justice rather than the hangman’s noose. Many readers weren’t satisfied with that explanation either, so Caroline Clive wrote a prequel to the story with the unsurprising title: Why Paul Ferroll killed his wife. This story explains how he met both his first and  second wife and how the former tricked him into marriage – so what else could he do but murder her! I still don’t find this a valid explanation for murder but wisely Caroline Clive gave up trying to persuade her readers that Paul Ferroll was a real hero and published no more stories about him. Although you have to admire her for cleverly building up indignation against him and selling two books about the same subject!

The ambiguity of veiling

 

One of the reasons I am so interested in veiling is because of its ambiguity. It can conceal or reveal, it can hide or highlight, it is worn by nuns as well as exotic dancers, it is associated with both marriage and mourning. I have used this ambiguity in my practice by using veils as a means of exploring feminism and the place of women in society. Veiling is also associated with gothic novels - just think of Wilkie Collins’ story The woman in white. Many of these nineteenth century novels were also written to critique the position of women and highlight their lack of legal rights. As those writers knew, it is often easier to get across your point of view if you engage the reader by telling them a story rather than laying out a series of dry facts. Consequently, I have made bridal veils linked to actual gothic heroines such as Tess of the Durbevilles (there’s more about this veil in my 7 January post) and Miss Havisham, but have also used gothic tropes to make lace veils incorporating the words No, no, no or Help me. The main image also includes a veil reflecting on the life of Charlotte Bronte and I have also used Jane Austen’s life as inspiration for another one.

All of those pieces were wedding veils, but I have also made black mourning veils to reflect the darker aspects of gothic tales. One of these is ‘Belladonna’, which you can see in the image above. The design of the lace trim on this veil was inspired by the leaves and berries of the deadly nightshade plant (Atropa belladonna to give it its Latin name). The gold thread running through it suggests that the widow may not be surprised or devastated by her husband’s demise. I’m always intrigued when I exhibit these veils that prospective brides ask if they are for sale and I wonder if they have actually read the labels!

Broken lace bobbins

Lace bobbins are prone to wear and tear because they are used so often and sometimes they break, especially at the top. The head of the bobbin is the thinnest part and also receives the most tension, as this is where the thread is wound round and looped to keep it in place. A common breakage occurs at the very top of the head, like the bobbin on the right in the image here. The bobbin can still be used as the thread can be looped just below the bulb but the bobbin won’t hang quite straight and there is more wear on the thread. Also the break may leave a rough edge on which the thread can catch and it is interesting that the top of this bobbin has been covered with a dot of sealing wax to smooth it off so the lacemaker can continue to use it.

The second bobbin on the right here has also lost its head and the lacemaker has decided not to repair it but to repurpose it. She has removed the head completely and ground the remaining neck down into a point and removed the spangle of beads from the tail of the bobbin. In its new form as a stiletto. It can now be used for broderie anglaise lacework. To do this it would be pushed through fabric to make a hole which the lacemaker would then sew round in blanket stitch, similar to the embroidery in the image above although that is not handmade and has been worked with a machine. It is impossible to know how the wooden bobbin was broken, but I think it originally had channels of lead or pewter as decorations and these either fell out completely or were beginning to fall out, making the surface rough and difficult to work with. More metal has been used to cover the surface and make the bobbin smooth again.

The bobbin on the far left has been very skilfully repaired. The neck must have broken and the top of a wooden bobbin has been cut to splice the two together to make it useable again. Pinned in place with a metal rivet this bobbin feels just a secure as the day it was first made. I have seen other bobbins repaired in this way so I think this was done professionally and was probably a service that bobbin makers offered their customers. What I like most about these repaired bobbins is the fact that they were so well loved that even when they broke their owners still wanted to use them and so repaired or repurposed them.

Wedding veils – happy ever after?

 

These wedding veils bring a gothic eye to traditional fairy tales and question the idea of marriage being the ultimate dream for fictional heroines. The image above shows the No, no, no veil, on the left, designed for the reluctant bride, and a veil celebrating Thomas Hardy’s heroine Tess of the Durbevilles on the right. The ‘No, no, no veil’ was inspired by the idea of a reluctant bride, who is forced into an unwanted marriage, using her bobbins and thread, the only means of discourse she possesses, to reveal her inner thoughts and appeal for help. The veil on the right references the episode in Tess of the Durbeville’s story where she writes a note to Angel Clare on the night before they marry, telling him about her past, in case that knowledge would cause him to change his mind. It is only once they are married that she realises he did not find the note and when she confesses her chequered past he rejects her. The disintegrating paper represents the hidden note and the fragility of the marriage. The veil is entitled ‘Paper trail’ reflecting the path the story follows after the confusion over this slip of paper, which eventually leads to Tess’s trial and sad end.

This veil with its sparkling fringe reflects the allure of marriage for the gothic heroine. From a distance this sparkling fringe appears to be made of soft, smooth thread but closer inspection reveals that it is composed of rows of hard, sharp pins. Its title ‘Pinned down’ suggests the sharp reality of conjugal bliss and domesticity. These veils are part of a series based on research into Victorian gothic novels and domesticity and their relevance to contemporary life.

Stitched QR codes and what they can reveal

 This embroidered QR code links through to my website when you read it with a smartphone. However I first became interested in using QR codes as a way of hiding information in plain sight in a decorative way. The idea being that the message could easily be overlooked in the same way as domestic textiles and their makers often are. I sometimes hide text within lace patterns but QR codes can contain much more information in a smaller space. QR codes do have to be quite exact though for the camera on a smart phone to recognise them. My first attempts were made in black bobbin lace but they were not reliable enough to work every time. I tried working the codes at an angle so the squares were cloth stitch diamonds and alternatively with the squares as tallies, but neither worked very well. I also experimented with crochet squares but they became too large for the backgrounds I wanted. I then tried cross stitch embroidery straight onto my background net but that wasn’t reliable either. Eventually I found that cross stitch embroidery on counted thread fabric was the most effective way of producing the QR codes.

This curtain Insider information contains many coded messages that together form a narrative about the domestic environment. The words ‘Help me’ are stitched in human hair on to the curtain, which also includes an embroidered QR code. The code can be read to reveal the words ‘Escape while you can’ while the human hair contains the DNA of the seamstress. Combined with the veil of the curtain they seem a cry for help and a warning to others. Both types of embroidery reference Victorian domestic needlework, such as samplers and mourning brooches, and hint at a gothic tale of confinement and control.

Lace curtain designs by Marcel Tuquet

 

These lovely curtain designs were made by Marcel Tuquet, a lace curtain designer working at the end of the nineteenth and the beginning of the twentieth century. He was a prolific designer and most of his designs include floral images, but whether this was his preference or he was responding to the fashions of the time I don’t know.

These images all come from a folio of his designs, which was published in about 1900 by Christian Stoll of Plauen. Rather than being catalogues for retailers or householders who were planning to purchase curtains these folios were aimed at designers in the European textile industry to inspire them and give an idea of current trends. Doodles and small drawings on the reverse of some pages suggest that they were used by designers for this purpose.

Lace curtains at this time were generally quite large and floral designs were very popular. In fact a large part of the training for designers included drawing flowers and plants either from real life or from other designs.

These designs were not meant to be copied exactly but mainly to provide inspiration and you can see how a designer might take an element from the border of one design for example and use it with the style of flowers in another, incorporating the trellis bars from a different design. The images shown here were all printed in the folio as they are shown here, with the border along the left hand side, but you can see how some of them could easily be rotated by ninety degrees and used as smaller curtains or even as the lower border of larger ones.

For most lace curtains we have no idea who the designer was or when they were produced so to have these folios of designs by a named designer is unusual and very special. It also shows us just a glimpse of the astonishing number of different designs an individual designer could produce and introduces us to the amazing skill of Marcel Tuquet.