Showing posts with label lace. Show all posts
Showing posts with label lace. Show all posts

Sunday, February 16, 2014

Object of the Day, Museum Edition: The Mary, Viscountess Harcourt Stole, 1900



Lace Stole, 1891-1900
Venice
The Victoria & Albert Museum



This stole was made in Burano, Italy, and belonged to Mary, Viscountess Harcourt. The Burano Lace School, on the island of Burano outside Venice was famed for its delicate work. The school was founded as a charitable institution and enjoyed royal patronage after the severe winter of 1872 when the Venetian lagoon froze and the communities dependent on fishing were badly affected.

The school revived the art of needle worked lace which was a main export of Venice in the 16th and 17th centuries.  There, the lace makers created works of every imaginable size, shape and use as well as faithfully copied high-quality historical pieces. By the 1890s the school was celebrated for its contemporary styles, like this stole.

Mary, Viscountess Harcourt may have bought, or been given, this stole new, perhaps while on a European tour of Venice following her wedding. It is known that the Viscountess’ favorite flower was the iris, which, here alternates with lily of the valley.

Wednesday, February 12, 2014

Object of the Day, Museum Edition: The Lester Bobbin Lace Fern Bodice Front, 1865-1875




The Victoria & Albert Museum



A popular adornment to a Nineteenth Century lady’s outfit was the addition of a lace collar or bodice front. This fashion was particularly stylish in the 1860s and early 1870s. Here, we see an example of the type of bodice front which would have been worn by a fashionable lady. Such a piece could have been worn with a variety of bodices. It would have been intended to be worn over a contrasting colored silk, setting its pattern into clear relief.

This example features a bib-shaped front worked with fine cotton thread and bobbin lace worked in a pattern of ferns and blossoms in cloth stitch with openwork decoration. A narrow border of Bucks point lace has been attached to the outer edge.

The detail and delicacy of the bobbin lace indicates that it was made in Bedfordshire, England which was a lace-making center. In fact, this type of work is often referred to as “Bedfordshire Style.” The curators at the V&A believe this piece was designed by Bedfordshire’s Thomas Lester who was known for such intricate patterns which often depicted ferns and other naturalistic themes. The botanical theme suggests that the bodice front was made between 1865 and 1875.




Saturday, February 8, 2014

Unusual Artifacts: Queen Victoria’s Costume for the Stuart Ball, 1851



Queen Victoria's Costume for
the Stuart Ball, 1851
Designed by Lemi
Pearls, Silk, Gold Braid, Silver Fringe,
Irish Lace
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II
For the Stuart Ball of 1851, Queen Victoria commissioned the Royal Dressmakers to create a truly breathtaking gown for her—drawing inspiration from her court of King Charles II. Though we often tend to remember Victoria as the Dowager Queen, we must remind ourselves that during her marriage, she was a vibrant and vivacious woman with a taste for fine clothes and gems.


Beaded with seed pearls, the silk gown is also adorned with gold braid, silver fringe and lace. The underskirt was a luxurious brocade created in Benares. The lace is of the finest quality—created in Ireland—in a Venetian raised-point needle style. The lace was most likely purchased at The Great Exhibition of 1850.

While the exact makers of the gown are unknown, it is known to have been designed (with much instruction from the Queen) by Eugéne Lemi—a favorite of the Queen. In this magnificent costume, she’s sure to have made the grand entrance that she’d hoped for.

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II







Thursday, May 23, 2013

Object of the Day, Museum Edition: The Lester Bobbin Lace Fern Bodice Front, 1865-1875



The Victoria & Albert Museum



A popular adornment to a Nineteenth Century lady’s outfit was the addition of a lace collar or bodice front. This fashion was particularly stylish in the 1860s and early 1870s. Here, we see an example of the type of bodice front which would have been worn by a fashionable lady. Such a piece could have been worn with a variety of bodices. It would have been intended to be worn over a contrasting colored silk, setting its pattern into clear relief.

This example features a bib-shaped front worked with fine cotton thread and bobbin lace worked in a pattern of ferns and blossoms in cloth stitch with openwork decoration. A narrow border of Bucks point lace has been attached to the outer edge.

The detail and delicacy of the bobbin lace indicates that it was made in Bedfordshire, England which was a lace-making center. In fact, this type of work is often referred to as “Bedfordshire Style.” The curators at the V&A believe this piece was designed by Bedfordshire’s Thomas Lester who was known for such intricate patterns which often depicted ferns and other naturalistic themes. The botanical theme suggests that the bodice front was made between 1865 and 1875.



Wednesday, February 20, 2013

History's Runway: An Embroidered and Beaded Silk Tea Gown, 1900



Tea Gown, 1900
The Victoria & Albert Museum
This frothy frock is a tea gown of ivory woven silk damask embroidered with glass, metal thread and beads. It is decorated with chain-stitch embroidered net and a long pleat of lace which drops from the neck to the hem in a style known as the “Watteau pleat.”


Tea gowns were developed in the 1870s as easy, comfortable dresses which were appropriate for a woman to wear for tea with family and friends in the home. However, as things often do, they became increasingly elaborate and fitted as time went on. By the 1890s tea gowns showcased exotic fabrics and threads and were worn for public appearances, such as dinner parties.

The gown we see here is a combination of influences and materials. The embroidered front panel of this gown was made in India for export as it was designed to appeal to European taste.








Saturday, February 9, 2013

Unfolding Pictures: Queen Mary's Coronation Fan, 1911


Queen Mary's Coronation Fan, 1911

Crown Copyright
The Royal Collection
Courtesy of Her Majesty Queen Elizabeth II

Presented by the Worshipful Company of Fan Makers to Queen Mary on the occasion of the coronation on June 22, 1911, this fan of a cream cotton lace leaf is supported by plain blond tortoiseshell guards and sticks. Upon the front guard is an applied gold monogram of “MR” surmounted by a crown. The bottom of the fan is punctuated by a gold pin with diamond heads and a gold loop

This lace fan lead is painted with four shields of arms and a decorative border containing the rose, thistle and shamrock. Very often in the inventory of the Royal Collection, this fan was noted by Queen Mary as being “in use” throughout her lifetime. So, obviously, it was a favorite. It is shown in photographs as being used in India during the Durbar celebrations.

The fan was designed by the industrial designer, fan-maker and fan historian George Woolliscroft Rhead while the leaf was created in the workshop of Miss Fowler of Honiton. The guards and sticks were carved by Robert Gleeson under the direction of Mr Joseph Ettlinger, Past Master of the Fan Makers Company. The original box survives.

A similar fan was created by the Honiton lace-makers at the time of Queen Elizabeth’s (the Queen Mother) coronation in 1937. That leaf, however, incorporates roses, thistles and ferns and was designed by the niece of Miss Fowler.

Unusual Artifacts: Queen Victoria’s Costume for the Stuart Ball, 1851



Queen Victoria's Costume for
the Stuart Ball, 1851
Designed by Lemi
Pearls, Silk, Gold Braid, Silver Fringe,
Irish Lace
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II
For the Stuart Ball of 1851, Queen Victoria commissioned the Royal Dressmakers to create a truly breathtaking gown for her—drawing inspiration from her court of King Charles II. Though we often tend to remember Victoria as the Dowager Queen, we must remind ourselves that during her marriage, she was a vibrant and vivacious woman with a taste for fine clothes and gems.


Beaded with seed pearls, the silk gown is also adorned with gold braid, silver fringe and lace. The underskirt was a luxurious brocade created in Benares. The lace is of the finest quality—created in Ireland—in a Venetian raised-point needle style. The lace was most likely purchased at The Great Exhibition of 1850.

While the exact makers of the gown are unknown, it is known to have been designed (with much instruction from the Queen) by Eugéne Lemi—a favorite of the Queen. In this magnificent costume, she’s sure to have made the grand entrance that she’d hoped for.



Object of the Day, Museum Edition: Queen Alexandra’s Handkerchief, 1880



Handkerchief
c. 1880
The Victoria & Albert Museum
At Sandringham House, Queen Mary had assembled a collection of odd items which constituted a family museum. In this collection, she added souvenirs, clothing, lace and personal objects which had historically belonged to members of the Royal family.

Queen Mary donated part of this collection of lace to the Victoria & Albert museum. Her donation included this handkerchief of linen, white-work embroidery and lace which had belonged to her mother-in-law Queen Alexandra.

Handkerchiefs such as this one were really not for utilitarian purposes, but were designed to be be carried purely as fashionable accessories and to be given as gifts. These elaborate pieces of linen incorporated the initials of their owner in an ornate monogram—especially if the object was part of a trousseau. White-work embroidery such as is seen here made for some of the most desirable handkerchiefs. White-work was made with such skill that it was reversible, being equally attractive on each side. These handkerchiefs were always trimmed with hand-made lace.

Because it was made for Queen Alexandra (when Princess of Wales), it has the initial A with a crown. Queen Mary’s preservation of such objects allowed for future generations to see the personal objects which were used on a daily basis. 




Tuesday, January 8, 2013

History's Runway: A Ball Gown from the House of Worth, 1900

Ball Gown
House of Worth
Paris, 1900
This and all related images from
The Cecil Beaton Collection at
The Victoria & Albert Museum




We have looked at several gowns by Charles Frederick Worth (1825-1895), the famed Parisian couturier whose “House of Worth” was the standard of elegant fashion. Worth was born in Bourne, Lincolnshire, and by the age of 12 was apprenticed to a draper's shop in London. At 20, he moved to Paris, working his way up the fashion ladder, finally opening his own house in 1858.

Worth caught the attention of the Empress Eugenie. This association was the key to his monumental success. What the empress wore, the ladies of the court wanted. Very quickly, Worth’s gown became symbols of social and financial greatness. His gowns defined how a wealthy lady of the early Twentieth Century should look.

This particular gown was worn by Princess Nicholas of Greece whose grandson, the Duke of Kent, donated the gown to his friend Sir Cecil Beaton, the society photographer and fashion buff, who was, in 1971, collecting fashionable dresses for his exhibition, “Fashion: An Anthology” at the V&A. 


Sadly, the some of the delicate trimmings of the gown have been lost to time. However, the rest of the gown has been painstakingly restored based on photographs from 1900 when it was made. The draped bodice is constructed of silk velvet and trimmed with diamanté and lace at the centre back. The inner foundation of the bodice has ten bones, and the bodice fastens at the left side with hooks and eyes. The skirt is also trimmed with diamante and flares from the panels that form the train.





Thursday, November 29, 2012

Gifts of Grandeur: Queen Victoria’s Diamond Jubilee Fan, 1897


Queen Victoria's Diamond Jubilee Fan
June, 1897
English--The Worshipful Co. of Fanmakers
The Royal Collection

A gift from the Worshipful Company of Fanmakers to commemorate Queen Victoria’s Diamond Jubilee in 1897, this fan is crafted from the finest Irish lace, gold thread, and carved and pierced ivory.


Amongst the beads and spangles which adorn the fan are symbols of Victoria’s long reign. When it was presented to her, the fan shimmered with hundreds of diamonds which were woven amongst the pale-colored glass beads. At some point in the Twentieth Century, the fan was stripped of its diamonds. Still beautiful and an excellent example of the ingenuity of English fanmakers, I can’t help but think it would have been a little more magnificent if left alone.



Tuesday, November 13, 2012

History’s Runway: The May Littledale Ball Gown, c. 1885

Ball Gown
England, 1885
The Victoria & Albert Museum



When May Primrose married Henry Littledale in 1885, the world proved bright and promising for the attractive and fashionable young couple. However, their happiness was not to be long-lived. May was killed in a terrible riding accident in early 1886.

Still, in the few months that the couple was married, they wowed London Society with their handsome wardrobes. May Littledale was especially praised for her fine taste in clothing and this gorgeous gown is testament to her fashion choices.

This gown features a heavily boned(whale bone) bodice which is laced on the reverse like a corset. The silhouette en vogue at the time emphasizes a tiny waist and bustled rear. Bodices of the era tended to be cut high on the hips to accommodate heavily-pleated skirts like this one of moiré silk. The silk is draped across the front and gathered at the sides, complemented by a huge bow.





Monday, August 20, 2012

Unusual Artifacts: Italian Ruff Edging, 1600-1620

Click image to enlarge.
Ruff Edging
Italy, 1600-1620
The Victoria & Albert Museum



A delicate pattern cut into fine linen creates this handsome bit of edging which was once a part of a fine ruff. Made between 1600 and 1620, the ruff comes from Italy and shows the ingenuity of early Seventeenth Century cutwork. Needle lace stitches around the cut edges complete the pattern and keep the cut ends of the linen from fraying.

Ruffs such as this were the height of fashion in the late Sixteenth and early Seventeenth Centuries. They were used to adorn daily dress and were especially meant to draw attention to a person’s face and throat, acting like a white frame.

Though only the edging remains, the V&A has recreated how it was used by displaying it on the edge of a newly created linen ruff in the style of Seventeenth Century Italian fashion. It really is an elegant bit of work, this remnant of edging with its row of cutwork squares featuring two alternating geometric designs. An outer row of cutwork pointed scallops and a narrow bobbin lace heading finish the piece. 



Friday, July 6, 2012

Unusual Artifacts: Mary of Teck’s Handkerchief from Her 1893 Wedding

Honiton Lace Handkerchief
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Even Royal eyes need daubing from time to time and even Royal noses need the occasional wipe. This is especially true at weddings. Of course the bride would carry a pretty, little handkerchief--just like this one. Princess Victoria Mary of Teck (known upon her husband’s (George V) ascension to the throne as “Queen Mary”) was never one to be without the appropriate accessories.

This crisp handkerchief of fine Honiton lace (matching her veil) is embroidered with her initials, “V.M.” A label sewn into the handkerchief, written in her own hand, states that she, “Victoria Mary, Duchess of York” used the handkerchief on her wedding day, July 6, 1893.

At the time of their marriage, the Royal couple had not yet been styled as The Prince and Princess of Wales (George was created Prince of Wales in 1901) and were called, The Duke and Duchess of York. They were married at the Chapel Royal at St. James Palace. Much as it is this week, all of London rejoiced.

The Times wrote of Mary’s dress:

Of silver and white brocade with its ingeniously clustered shamrocks, roses and thistles [the national official flowers of the empire] hampers the bride’s graceful movements . . . The bridal veil of fine old Honiton point is caught back of the face, and trails and clusters of orange-blossoms, together with the inevitable bouquet of white flowers carried in her hand . . .

Monday, July 2, 2012

Gifts of Grandeur: Queen Mary's Coronation Fan, 1911

Queen Mary's Coronation Fan
Honiton, England, 1911
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



This lovely fan with its cream cotton lace leaf, and plain blond tortoiseshell guards and sticks was made for the 1911 Coronation of King George V and Queen Mary. The front guard of the fan has been applied with the gold monogram “MR” (Mary Regina) surmounted by a crown. The fan ends in a gold pin with diamond heads and a gold loop.

The fan was presented by the Worshipful Company of Fan Makers to Queen Mary on the day of the Coronation: June 22, 1911. The lace for the fan was made in Honiton and features a design with four shields of arms and a decorative border containing the rose, thistle and shamrock. It was a favorite of Queen Mary. Records from the Royal Collection show that the fan was frequently “in use,” notably when Queen Mary took the fan to India for use during the Durbar celebrations.

A similar fan was made in 1937 for Queen Elizabeth (the Queen Mother) on the occasion of the coronation she shared with her husband, King George VI. The 1937 fan was said to have been made by the children of those who made the fan for Queen Mary in 1911. 




Monday, April 30, 2012

Object of the Day, Museum Edition: An Italian Linen Handkerchief, 1600



Italian Linen Handkerchief
1600
The Victoria and Albert Museum


Plain linen handkerchiefs have been around almost literally forever and have long served the same purpose that they do to this day.  However, in the Sixteenth Century, a fashion arose wherein decorative handkerchiefs carried purely as fashionable accessories.  These delicate articles were popularly given as fashionable gifts, especially on New Year’s Day.  This was a habit which was especially enjoyed by Queen Elizabeth I.  However, the gift of a handkerchief usually carried romantic significance.  During courtship, the couple exchanged symbolic gifts such as gloves, ribbons, rings and handkerchiefs. The acceptance of such a gift indicated a binding commitment and, as the V&A reminds us, “could be used as proof of betrothal in the case of any disputes.

This Italian example dating to the early Seventeenth Century (about 1600, actually) has whitework embroidery which has been worked in detached buttonhole and satin stitches, needle lace and cutwork decoration.

Cutwork adornment is the earliest form of needle lace and was originally based on a woven ground, from which areas have been cut away. Elaborate cutwork was an important decoration on fashionable dress for both men and women from about 1570 to 1620.  As was the style of this era, the cutwork decoration is located at the handkerchief’s four corners .

The handkerchief has survived all of these centuries because it was intended as an accessory and was never used for less-elegant purposes.  Somehow, it ended up in the collection of  the English lace dealer Samuel Chick from whom it was purchased by the V&A in 1906.




Monday, February 13, 2012

Valentine of the Day: Forget Me Not



FORGET ME NOT

Though many a joy around thee smile,
And many a faithful heart you meet,
Where love may cheer life's dreary way
And turn the bitter to a sweet -

Let memory sometimes lead thee back
To other days almost forgot;
And when you think of other friends,
Who love thee well, "Forget me not."


This beautiful greeting was made c.1870 by an unknown artist and publisher as a Valentine card.  Printed on silk and adorned with paper-lace and fabric appliqué, the lithograph features only the verse instead of any imagery.  With these sentimental words as the centerpiece, framed by this intricate hand-cut lace, the effect is one of pure romance.  



A note to my friends at the V&A--for all of the perfection that the museum exhibits in every conceivable way, there's one thing that could improve.  Stop writing on the art!!!


Valentine Card, 1870
The Victoria & Albert Museum

Object of the Day, Museum Edition: A Lace Border, c. 1660

Happy Monday the 13th, All!  I’m a wee bit slow in starting today.  You see, I didn’t sleep last night.  Why?  I was constantly up and down looking out the window because we were due snow and ice.  In my part of the world, this is not a terribly frequent occurrence, and so, I wanted to keep an eye out.

Now, around five o’clock this morning, a thought occurred to me.  “Joseph, you don’t leave the house.  You live and work in the same place.  You could be snowed-in for days and it would not make a difference.”  And, so, realizing how ridiculous I am, I went to bed, planning on getting up in an hour and beginning my day with tremendous flare and energy.

No.  I woke up at ten.  I blame Bertie who, I think, shut off the alarm clock.  Besides, we were still giddy and groggy from our wonderful, annual Valentine’s feast on Sunday, but you’ll see more of that in the “Treat of the Week” post later.  I’ve just sorted through all the photos and it’s making my stomach growl. 

Various other things have slowed me today.  For example, I just received a package from a friend in England—thank you Barry!—containing two beautiful items which far exceeded my expectations of them.  You’ll be seeing those in coming days as “Objects of the Day.”

But, first, let’s get going with today’s, “Object of the Day.”

Lace Border made in Venice, c. 1660-90
Imported to Britain for the Royal Court
The Victoria & Albert Museum


In keeping with the Valentine’s Day theme of the last few days, I thought today we’d look at a common element in many valentines—lace.  Here, we see a lovely piece of lace from one of the world’s primary lace-making centers—Venice.  The needle lace made in Venice in the second half of the Seventeenth Century was celebrated throughout the world for its quality and variety.   This example is a border of the type known now as “point de neige,” due to its resemblance to the tiny details of snowflakes.

When this lace border was made, between the 1660s and 1690s, both men and women increasingly wore extravagant lace as a mark of wealth and status. The most theatrical lace pieces were worn at the throat and at the wrist, setting off the face and hands. A fashionable gentleman might even trim his boot hose with matching lace borders and borders such as the one pictured here were suitable for the elaborate headdresses of women.

Around the time this piece was created, in an attempt to protect the English lace industry, a royal proclamation was issued in 1662 forbidding the import or sale of foreign lace. There was one little loophole in the proclamation, the Royal Family was exempt from this prohibition.   So, it is believed that this piece was brought into Britain for the Royal Family who either used it for their own purposes or gave it to an eager member of the court. 



Sunday, February 12, 2012

History's Runway: The Mary, Viscountess Harcourt Stole, 1900

Lace Stole, 1891-1900
Venice
The Victoria & Albert Museum




This stole was made in Burano, Italy, and belonged to Mary, Viscountess Harcourt. The Burano Lace School, on the island of Burano outside Venice was famed for its delicate work. The school was founded as a charitable institution and enjoyed royal patronage after the severe winter of 1872 when the Venetian lagoon froze and the communities dependent on fishing were badly affected.

The school revived the art of needle worked lace which was a main export of Venice in the 16th and 17th centuries.  There, the lace makers created works of every imaginable size, shape and use as well as faithfully copied high-quality historical pieces. By the 1890s the school was celebrated for its contemporary styles, like this stole.

Mary, Viscountess Harcourt may have bought, or been given, this stole new, perhaps while on a European tour of Venice following her wedding. It is known that the Viscountess’ favorite flower was the iris, which, here alternates with lily of the valley.


Tuesday, January 31, 2012

Unusual Artifacts: The Lester Bobbin Lace Fern Bodice Front, 1865-1875

The Victoria & Albert Museum



A popular adornment to a Nineteenth Century lady’s outfit was the addition of a lace collar or bodice front. This fashion was particularly stylish in the 1860s and early 1870s. Here, we see an example of the type of bodice front which would have been worn by a fashionable lady. Such a piece could have been worn with a variety of bodices. It would have been intended to be worn over a contrasting colored silk, setting its pattern into clear relief.

This example features a bib-shaped front worked with fine cotton thread and bobbin lace worked in a pattern of ferns and blossoms in cloth stitch with openwork decoration. A narrow border of Bucks point lace has been attached to the outer edge.

The detail and delicacy of the bobbin lace indicates that it was made in Bedfordshire, England which was a lace-making center. In fact, this type of work is often referred to as “Bedfordshire Style.” The curators at the V&A believe this piece was designed by Bedfordshire’s Thomas Lester who was known for such intricate patterns which often depicted ferns and other naturalistic themes. The botanical theme suggests that the bodice front was made between 1865 and 1875.

Tuesday, August 23, 2011

Object of the Day, Museum Edition: Queen Alexandra’s Handkerchief, 1880


Handkerchief
c. 1880
The Victoria & Albert Museum
At Sandringham House, Queen Mary had assembled a collection of odd items which constituted a family museum. In this collection, she added souvenirs, clothing, lace and personal objects which had historically belonged to members of the Royal family.

Queen Mary donated part of this collection of lace to the Victoria & Albert museum. Her donation included this handkerchief of linen, white-work embroidery and lace which had belonged to her mother-in-law Queen Alexandra.

Handkerchiefs such as this one were really not for utilitarian purposes, but were designed to be be carried purely as fashionable accessories and to be given as gifts. These elaborate pieces of linen incorporated the initials of their owner in an ornate monogram—especially if the object was part of a trousseau. White-work embroidery such as is seen here made for some of the most desirable handkerchiefs. White-work was made with such skill that it was reversible, being equally attractive on each side. These handkerchiefs were always trimmed with hand-made lace.

Because it was made for Queen Alexandra (when Princess of Wales), it has the initial A with a crown. Queen Mary’s preservation of such objects allowed for future generations to see the personal objects which were used on a daily basis.