Program of the
Friday, 20 of May 2011
Recepdon, Registration and Coffee
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
Venetian «Gros Point» Iconography
Roberta Orsi Landini. Scholar of
Textlies and Costumes, member of the Directing Council of
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.
Sara Piccolo Paci. Visiting
Professor Fashion Institute of Technology New
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.
of Venetian Gros Point Needlelace
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
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.
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
12.30 Lunch at the Pädagogische Hochschule St.
Lynne Bassett and Edward Maeder, Costume &
Textile Consultant, Curator, Author and Lecturer,
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.
Thessy Schoenholzer Nichols, Technical Historian
for Textiles, Laces and Costumes, Florence
European heads wearing Venetian Gros in printed
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.
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
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
Visit to the St. Gallen Textile Library
and to the exhibition «St. Gall», St. Gallen
Welcome-Drink in the Textile Museum and greetings
from Thomas Scheitlin, mayor of
Saturday, 21th of May 2011
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.
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.
Joanna Hashagen, Keeper of Textiles at The Bowes
Annabel Talbot, Curatorial Assistant at The Bowes Museum,
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
Marguerite Coppens, Curator, Museum of Art and
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.
Frieda Sorber, Curator Historical Collection,
Modemuseum Antwerp, Belgium
European Precursors of Needle Lace in the 14th and 15th
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.
Ursula Karbacher, Curator Textile Museum St.
Characteristics of the ever renewed Gros Point in the St
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.
Bernard Berthod, Curator Museum Fourviere, Lyon
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?
aspects of the Venetian Gros Point
Angharad Rixon, Technical Textile Historian,
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.
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.
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
Babette Küster M.A., Curator Textil, Grassi Museum für
Angewandte Kunst Leipzig
Guided tour to the Abbey Library of St. Gallen
or to the City of St. Gallen
Kulturförderung Kanton St. Gallen
Pädagogische Hochschule des Kantons St. Gallen
Stadt St. Gallen
St. Gallen-Bodensee Tourismus
Textilmuseum St. Gallen