Thomas Lester was a nineteenth century Bedfordshire lace manufacturer who was responsible for some of the most beautiful English lace designs. The image above is taken from a cap piece he designed which is now in the Cecil Higgins Art Gallery, Bedford. He exhibited lace at the Great Exhibition of 1851 in London where he won a prize medal for his ‘improved arrangement of Bedfordshire pillow lace’. This was probably not an original design but an adaptation which showed that he understood the process of lacemaking and had an eye for designing. It is thought that he may have been able to make bobbin lace and his wife was definitely a lacemaker. In the 1850s there was a move away from the traditional point ground lace in Bedfordshire to the plaited laces which subsequently made Lester famous.
This image shows pages from Lester’s exercise book of
designs in the Cecil Higgins collection. He was designing point ground lace in
the early 1850s but after visiting the Great Exhibition, and in particular
seeing that Honiton lace was not only a more free style of design but also was
held in higher regard and fetched a higher price, he began designing Bedfordshire
lace in a freer style using plaits to join the elements rather than grounds,
which he used as filling stitches instead.
The designs often feature realistic plant forms and animals
and the source of these may have been books of natural history, illustrated
periodicals or Owen Jones’ The Grammar of Ornament which was used as a teaching
aid at art schools. Such realistic natural designs were popular at the time and
feature for example in Honiton and Brussels lace as well as other textiles. In
the 1862 International Exhibition Thomas Lester was awarded a medal for his new
type of lace, which he called ‘Bedfordshire white fancy lace’. He died in 1867
but the Lester family continued their lace manufacturing business in Bedford
until 1905 and won medals in several exhibitions including the one in Chicago
in 1893. However, the success of machine lace reduced their business
considerably, particularly following the 1860s when the Levers lace machine became
capable of producing imitation Bedfordshire (Maltese) lace, and they
diversified into art needlework and Berlin work as well as continuing to sell ‘real
lace’.