ANNE WANNER'S Textiles in History / symposiums

   
The Textile-Museum St.Gallen
Vadianstrasse 2
CH-9000 St.Gallen
tel: ++41 71 222 17 44
fax: ++41 71 223 42 39
e-mail:
ukarbacher@textilmuseum.ch
internet:
www.textilmuseum.ch
opening hours:
every day from 10 am to 5 pm


 

Invitation to the International symposium Venetian Gros Point 

at the St. Gallen Textile Museum
from 20-21 Mai 2011

   
  St. Gallen, end of October 2010

The aim of this meeting is to take stock of what is known about the most important kind of lace of the 17th century, which is commonly assumed.
As it was not possible to hold this Symposium in June 2009 in Retournac, France, it takes place in St. Gallen, Switzerland on the occasion of the exhibition "St-Gall " in the St.Gallen Textile Museum.

This conference will be held in honour of Youlie Spantidaki. Her death in 2010 is a great loss for us. We knew her as a very famous scientist and a great friend.

The fee for the symposium is 90 Euros. Included are coffee breaks, the two lunches at the Pädagogische Hochschule St.Gallen, the entry of the Textile Museum, the welcome-drink and the guided tours. Not included is the entry of the Abbey Library ot St.Gallen.

The number of participants is limited. The registration will be in order of the coming in of your inscription. Dead line is the 31st of January 2011.
We will inform immediately about your participation and send you our bank connetion. Your payment of the fee will be regarded as definitive registration.

Best regards
Ursula Karbacher
Curator
TEXTILMUSEUM -
ukarbacher@textilmuseum.ch
 


Program of the Symposium:

Friday, 20 of May 2011
09.00
Recepdon, Registration and Coffee
10.00
Welcome-Speech by Vicenzo Montinari, Board of die Council of the Foundation of die St.
Gallen-Appenzell Chamber of Trade and Industry

Introduction by Ursula Karbacher, Curator Textile Museum St. Gallen

Around the Venetian «Gros Point» Iconography

10.15
Roberta Orsi Landini. Scholar of Textlies and Costumes, member of the Directing Council of CIETA, Italy
Textiles m the time of laces
The speech will make some comparisons between the motifs of laces and textiles in the second half of the XVII century. In the fashion of the period laces and textiles, with very different techniques, but with similar motifs, contributed to create a harmonious whole where the light was the principal protagonist.

10.45
Sara Piccolo Paci. Visiting Professor Fashion Institute of Technology New York/Florence
Fashionable Fencers: lace and lace pattems on male garment & swords in the XVII century
The many inspirational pattern-books which have been published until the beginning of die XVII century, represented a respected tradition of art sources which allowed also the curved line of the Baroque to find its way on every surface, on a mutual interexchange of talent and virtuosity which envelop also men dresses and their fashionable items. Not only cuffs and collars then, but also weapons, gun and swords where the light elegance of lace is transformed into steel. For an aesthetic of lace and «lace making» this involved not only the female world.

Representation of Venetian Gros Point Needlelace

11.15
Beth Walsh, PhD Thesis 2009 on "Gros Point de Venise " at the University of East Anglia, U.K.
Look at that lace: it is Venetian Gros Point, of course!
There is little written evidence of why Venetian Gros Point was so prized in the late seventeenth Century;
I therefore draw on examples of its representation in paint, stone, wood and print to demonstrate preoccupations and concerns of the society in which it was experienced. It was important to convey an indisputable representation of Venetian Gros Point: how this was achieved reveals something of the sitter, the maker and of the viewer while also deepening an understanding of the lace itself.

11.45
Flavia Fiori, Art Historian specialized in Textiles, Italy
Novara and surroundings: paintings and laces from the 17th century
Gros point de Venise, documented, in the third quarter of the 17th century, in female dresses made according to the French fashion and in edges for ecclesiastical furniture kept in sacristies, museums and
paintings belonging to the Diocese of Novara and sourroundings.

12.30 Lunch at the Pädagogische Hochschule St. Gallen

13.45
Lynne Bassett and Edward Maeder, Costume & Textile Consultant, Curator, Author and Lecturer, Deerfield, USA:
Were the Freakes Really Freakes? A New Look at Lace in Early Colonial America.
The controversial Freake family portraits, in the Worcester Art Museum in Massachusetts are certainly among the best known from colonial America in the third decade of the seventeenth Century. They pose a number of important social, economic and political questions. The struggle between the socially conservative Puritans in New England and the financially successful populations accessibility to luxury items of dress such as Mr. Freake's lace collar, will be explored. Contemporary changes to both portraits, as well as documentary evidence will be discussed and they will be compared to other works of the period.

14.15
Thessy Schoenholzer Nichols, Technical Historian for Textiles, Laces and Costumes, Florence
European heads wearing Venetian Gros in printed portraits
Rabat in Gros Point de Venise dismantled and reconstructed.

Presentation of rabat and cravats on dated prints from the 17th century Europe, and analysis of motifs and their arrangements confronting them with laces of that period.


History and Fashion

14.45
Corinne Thepaut-Cabasset, Research Associate at Versailles palace
History and Fashion: From Venice point to France point: which Stitch for which Fashion?
This paper will focus on the study of the resource of the French press of the XVIIth century. In 1672 the Mercure galant invented a new section of "article des modes nouvelles", this section mostly covers Louis XIV's period and lasted until 1701. It'll be about to appreciate the use of laces in the fashion in Paris and at court in Versailles during the second part of the XVIIth Century, and the use of different stitches in the appropriate piece of clothes, following the seasons and trends.
We may also draw a panorama of tailors, merchants, artisans, etc. in Paris, study their network and the
circulation of the items through Europe. Finally images as engravings and painted court portraits added to the texts will give a more concrete appreciation of the different sritches.

15.15
Discussion
15.30
Coffee break

16.00
Visit to the St. Gallen Textile Library
and to the exhibition «St. Gall», St. Gallen Textile Museum

18.00
Welcome-Drink in the Textile Museum and greetings from Thomas Scheitlin, mayor of
St. Gallen



Saturday, 21th of May 2011

History and Fashion

09.00
Maria Paola Ruffino, Curator of the Textile Collection of Palazzo Madama - Museo Civico d'Arte Antica di Torino
The Venetian Gros Point at the Savoy Court: written and iconographical documentation
The Savoy family's portraits give evidence for the success of the Gros Point Lace at the Court of Turin. Searching in the inventories, letters, payments of the ducal Archives, we'll try to punctually outline its provenience, its commerce and its use.

09 30
Isabella Campagnol, Curator, Collezione Storica e Archivi Rubelli S.p.A, Venice
Lace-making in Venice: digging into the archives
Documentary evidences prove that lace making was a very common occupation in Venice. The archives of such Institutions as the Ospedaletto dei Derelitti, the Pietà or the Pio Loco delle Penitenti preserve numerous documents explaining how such work was organized and the value of the laces they sold. Sifting through these documents, we will try to find evidence about the making of specific types of laces.

10.00
Joanna Hashagen, Keeper of Textiles at The Bowes Museum and
Annabel Talbot, Curatorial Assistant at The Bowes Museum, U.K.

The Trade in Antique Venetian Lace in the second half of the 19th Century, illustrated through the Blackborne Lace Collection
Joanna Hashagen will explain how Anthony and Arthur Blackborne bought and sold Venetian lace and made important study collections. She will also announce details about the new lace study facility at The
Bowes Museum which opens in 2011.
Annabel Talbot will show how the Blackborne trade, and the surviving contents of their shop, graphically illustrates the popularity of Venetian gros point in the 19th century.

10.30 Coffee break

11.00
Marguerite Coppens, Curator, Museum of Art and History, Brüssels
The Antecedents of the Colbert and the Breakup of the Lace Center of Alençon in the 19th
After the great vogue of the tulle in the breakup of the handmade lace Alençon had difficulties to place. All efforts to adapt to the new reality of the laces, as to bring inventive ideas to market, were dedicated to
fail. The enterprise Lefébure had to wait till the years of 1870 before having some success with its Point Colbert, which was already technically elaborated since the mid-century. The discovery of new archives admitted us to comment these attempts and to point out the important role, which played the application
of the "point des fleurs en relief". The «nouveauté» was presented at the London Universal Exposition in 1851 but was dedicated to a commercial failure as well.

11.30
Frieda Sorber, Curator Historical Collection, Modemuseum Antwerp, Belgium
European Precursors of Needle Lace in the 14th and 15th Centuries?

As early as the 14th Century embroiderers in Western and Northern Europe tried to add volume their work. The best known examples of raised embroidery are the English stumpwork of the 16th and 17th centuries. Hidden in European church treasuries and museums are other embroideries some as early as
the 14th century that have striking 3 dimensional designs of flowers and birds executed in looped stitches and variations of buttonhole stitch. Technically they are related to 14th and 15th century decorations of tassels and some of the 3 dimensional flowers found in relic presentations in the Netherlands and adjacent countries. As fas as I know these have never been studied as a group. For the development of needle lace stitches these purses, relic presentations and ornaments for religious vestments offer a tantalizing view of possible precursors of needle lace.

12.00
Ursula Karbacher, Curator Textile Museum St. Gallen
Characteristics of the ever renewed Gros Point in the St Gall Embroidery

1881/82 Charles Wetter-Rüesch developed the burnt-out technique, making possible the mechanical imitation of lace. The main basis for further embroidered lace-innovations was the Gros Point. Technical aspects as well as motives-developments from the beginning of the so called guipure up to the present time will be looked at.

12.30 Lunch at the Pädagogische Hochschule St. Gallen

13.45
Bernard Berthod, Curator Museum Fourviere, Lyon
Lace chasubles
The lace chasuble from the Textile Museum of St. Gallen is a rare item. The author attempts to answer the questions which such a cloth: is it canonical, is it an effect of fashion, a coquetry?


Technical aspects of the Venetian Gros Point

14.15
Angharad Rixon, Technical Textile Historian, Pavia
A Little Look at the «Thread»: Fibres and Finishes in the Second Half of the 17th Century
There is a subconscious tendency to assume certain material Standards for textiles. In the field of lace history an automatic connection is often made between the words «thread» and «linen». In the world of
antique lace we are accustomed to having three possible materials; metal, silk and «thread», and it is this third "material" that shall be examined with the help of electron microscopy.

14.45
Bruno Ythier, Curator, Le Musée Départemental de la Tapisserie, Aubusson (till 2010 Director Musée des Manufatures de Dentelles, Retournac)
Presentation and Proposal of the Classification System on Venetian Gros Point Lace

This classification System was elaborated by Youlie Spantidaki (Technical Textile Historian, deceased in
2010) and Bruno Ythier.

15.15
Applications of the Classification System
Thessy Schoenholzer Nichols, Technical Historian for Textiles, Laces and Costumes
Bruno Ythier, Curator Le Musée Départemental de la Tapisserie Aubusson (till 2010 Director Musée des Manufatures de Dentelles, Retournac)
Bettina Beisenkötter, Conservator, Landesmuseum Württemberg
Babette Küster M.A., Curator Textil, Grassi Museum für Angewandte Kunst Leipzig

15.45
Discussion and Conclusion

16.00
Coffee break

16.30
Guided tour to the Abbey Library of St. Gallen
or to the City of St. Gallen

Sponsors
Iklé-Frischknecht Stiftung
Kulturförderung Kanton St. Gallen
Pädagogische Hochschule des Kantons St. Gallen
Stadt St. Gallen
St. Gallen-Bodensee Tourismus
Swisslos
Textilmuseum St. Gallen

 

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