Brigita Fuhrmann - Bobbin Lace: An Illustrated Guide to Traditional and Contemporary Techniques
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- Book:Bobbin Lace: An Illustrated Guide to Traditional and Contemporary Techniques
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Bobbin Lace: An Illustrated Guide to Traditional and Contemporary Techniques: summary, description and annotation
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After over a century of relative obscurity, lacemaking is enjoying a revival as more and more needlecraft artists are intrigued by its creative possibilities. Dating from the 15th century, bobbin lace is prized everywhere for its intricacy, delicacy, and decorative richness and couldnt be easier to do!
In this modern, step-by-step approach to the craft, noted lacemaker Brigita Fuhrmann shows you how to create every kind of bobbin lace from the simplest stitch to the most challenging pattern. In addition, she traces the history of bobbin lacemaking in Western and Eastern Europe (including Russia) and relates these two distinct types to contemporary trends.
For all its intricate, elegant appearance, bobbin lace is based on only two different movements of bobbins the cross and the twist. Essentially, it is the technique of winding threads on bobbins around pins attached to a firm pillow. The pins hold the lace in place while you cross and twist the bobbins over each other in varying sequences to form a wide range of stitches. The richness of the lace depends on how you combine the stitches into a pattern.
Ms. Fuhrmann provides expert advice on the tools youll need pillows, bobbins, pins, and thread and easy-to-follow instructions for a variety of exquisite stitches. Clear, accurate diagrams accompany stitch directions, beginning with the braid and Brussels ground and ending with the maidens net and spiders. Learn how to make stunning straight lace and tape lace; construct fans, corners, edgings; draft patterns; finish your creations, and care for your lace.
Needleworkers at all levels of expertise will welcome this comprehensive volume. Experienced hands will discover endless challenges and inspiration here; beginners will find this an excellent introduction to the beauty and elegance of a time-honored art form.
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During the past several years while conducting workshops and classes in lacemaking, I have met a large number of dedicated and enthusiastic people who have shown a sincere interest in learning this art. It is because of their interest and expressed need for a manual of peasant lacemaking that I undertook the writing of this book, which would not have been possible without the help of some very wonderful people whom I should like to thank here.
In this type of book the photographs are as important as the text, and I consider myself fortunate to have found a professional photographer of the caliber of Howard J. Levitz. It was also my good fortune to have editors as cooperative and helpful as Jennifer Place and Ellen Zeifer.
I am deeply indebted to the following museum personnel for their prompt and helpful assistance: Jo Bidner, Volunteer, Costume and Textile Department, Brooklyn Museum; Elizabeth Ann Coleman, Curator, Costume and Textile Department, Brooklyn Museum; A. Nahlik, Head, Polish Textile History Museum; V. A. Pushkarev, Director, Leningrad Museum; Larry Salmon, Curator, Textile Department, Boston Museum of Fine Arts; Milton Sondy, Curator, Textile Department, Cooper-Hewitt Museum; Dr. Maria Taszycka, Curator of Textiles, National Museum in Cracow, Poland; and Barbara Teague, Textile Department, Metropolitan Museum of Art.
The following people offered much more than was asked of them, and I found them not only helpful but encouraging: Mary Ann Beinecke, President, Hoo-suck Community Resources Corporation; Gertrude Biederman, teacher of lacemaking and author; David Manzella, Head, Graduate School, Rhode Island School of Design; Dr. Ema Markova, Czechoslovakian Textile Authority; and Esther Oldham, collector of fans and laces.
I also wish to thank the following lacemakers who were generous enough to send more work than I could include in this book: Emilie Frydecka, Elena Holeczy, Kaethe Kliot, Suzanne Lewis, Mary Lou Reichard, Jarmila Sikytova, Cindy Van Dine, Lydia Van Gelder, and Marie Vankova.
I am especially indebted to my parents, Josef and Marie Holler, to Alice Marcoux, Ruth Ginsberg-Place, and James Russell for the encouragement and support they gave me during the initial phases of this book. And to my husband, Bill, without whom this book might never have reached completion, I wish to express my most sincere appreciation.
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A Slovakian lacemaker from Turie Pole at work on her cylindrical pillow. Photo Jozef Vydra.
The development of the technique of bobbin lace is not well recorded, and a lot of the available information is founded on probability. The oldest specimens of lace have very rarely survived, and written descriptions are not always completely reliable. The first dependable recording of lace began with portrait painting, where details of clothing were accurately represented.
Knotting, plaiting, and weaving on a vertical warp all claim to be forerunners of bobbin laceit is quite possible that in different countries bobbin lace developed from different techniques. Simple network and plaiting were almost universally known all over the world. Examples of these rudimentary laces have been found in excavations in Egypt, Peru, China, England, and Scandinavia. But the sophisticated technique of bobbin lace as we know it today did not appear until the latter part of the 15th century. The earliest form of bobbin lace was made with gold and silver threads, and these laces seem to have been haberdashery trims that later were developed into the intricate designs of the 16th century when fiber threads began to be used.
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