Ipswich lace

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Ipswich lace display in The Smithsonian Reproduction Ipswich lace pillow on display in the Smithsonian American History Museum.jpg
Ipswich lace display in The Smithsonian

Ipswich lace is a historical fashion accessory, the only known American hand-made bobbin lace to be commercially produced. Centered in the coastal town of Ipswich, Massachusetts north of Boston, a community of lacemaking arose in the 18th century. Puritan settlers to the area likely made and wore lace as early as 1634, because Sumptuary laws from the early colonial records indicate this activity. In fact, the earliest known record of the act of lacemaking in the region comes from a court case in 1654 associated with the home of Governor John Endicott. An indentured servant in the household accused the governor's son Zerubbabel with assault, which occurred while she was working at her lace cushion. [1] Earliest known records of the commercial production indicate that lace produced by local women was used to barter for goods in the 1760s, as denoted by ledger account books belonging to local merchants. [2] These laces were sold in the region from Boston to Maine.

Contents

Although some references presume that Ipswich lace represents an offshoot of the styles of British laces such as that known today as Bucks point lace, and originated with English immigration, [2] [3] other evidence points to continental influence. Bucks point is theorized to have developed from Mechlin, Lille, and other lace styles brought to England with Huguenot refugees. Early Buckinghamshire region lace may be different from the characteristics of this lace in modern understanding. A key observation is that the footside of Ipswich lace sits to the left during production, contrary to English laces typically created with a footside to the right. [4]

Ipswich bobbin lace is similar to European bobbin laces of the 18th century such as Mechlin and Valenciennes, but developed characteristics and patterns of its own over the production period. They were made as borders and insertions to be added to clothing or household items. It is a continuous lace, meaning that the threads continue from the beginning to the end of the pattern, as opposed to non-continuous laces, where the threads that are used for the motifs (dense, decorative parts) are not the same threads as those used to make the fillings and grounds (the open parts connecting the motifs). [5] The motifs in Ipswich lace are mostly surrounded with a thick gimp (outline) thread. Most of the motifs are constructed with the half stitch (Cross-Twist), and the ground of small meshes connecting the motifs consists of either some variation on the Torchon ground or the Kat-stitch, also called Paris ground. A decorative edge of two-threaded picots (loops) are very common. The Point ground (cross, twist, twist, twist) as used in Bucks point and other similar laces were not used as a ground in the Ipswich laces, only as a decorative filling.

History

Typically the lace was produced from "prickings" or patterns created on parchment or pasteboard that were attached to a round bolster-style lace pillow. Bobbins whittled from local wood or reeds were used to provide the thread repository and the appropriate tension for constructing the lace. Linen or silk thread was the material commonly used in the early period with cotton employed only later after the development of mercerised cotton improved thread characteristics. Imported and individually handmade pins provided the structural support for the patterns, until pin-making machines became available in the 1840s. Known lace examples are largely white linen or black silk threads.

Preceding and during the American Revolutionary War, the purchase of luxury imported goods was problematic from social, political, and logistical perspectives. Hannah Adams of Medfield, who later became an eminent writer, described making bobbin lace herself during these years. The style or type of lace she made is unknown, but confirms that lace making was underway and profitable during this period in Massachusetts.

During the American revolutionary war, I learned to weave bobbin lace, which was then saleable, and much more profitable to me than spinning, sewing or knitting, which had previously been my employment. At this period I found but little time for literary pursuits. But at the termination of the American war, this resource failed, and I was again left in a destitute situation. [6]

Dana Report of Ipswich Lace Production Dana Report of Ipswich Lace Production.jpg
Dana Report of Ipswich Lace Production

By the 1790s, over 600 women in the Ipswich area were producing significant quantities of lace for sale. Stored in the Library of Congress with the papers of Alexander Hamilton, [7] a report of this activity was submitted to the Secretary of the Treasury with actual samples of Ipswich lace. Reverend Joseph Dana, author of the report, provided: [8]

A Return of Lace and Edging, manufactured in the Town of Ipswich, from August 1789 to August 1790. With the value of the whole, computed from the Bartering-Prices at which the different parcels of each have been sold.

Rev. Dana reported 13483 yards of edgings and 28496 yards of lace, for a total of 41979 yards of Ipswich lace made by local women in that time frame.

Section of a shopkeeper's advertisement from Newburyport MA in 1797, highlighting Ipswich lace. Courtesy of the Newburyport Public Library Newburyport Impartial Herald advertisement 1797.jpg
Section of a shopkeeper's advertisement from Newburyport MA in 1797, highlighting Ipswich lace. Courtesy of the Newburyport Public Library

Lace making continued through the end of the century and into the early 1800s as a hand-made activity, and period advertisements for “American Laces” and “Ipswich Lace” indicate that the lace was available from local merchants, [9] on par with competing European laces.

Extant samples of Ipswich lace on garments can be found in various archives. For example, a mourning cap, [10] silk hood [11] and a cloak [12] featuring Ipswich lace are found in the Museum of Fine Arts, Boston. Martha Washington possessed a shawl [13] made with Ipswich lace which is preserved in the Mount Vernon collection; the lace was reportedly purchased by George Washington on his post-election tour of the young United States. [14] An additional lace segment is also at Mount Vernon. [15] Lace adorning a man's Masonic "Memento mori" apron is also an Ipswich lace. [16] The Museum of Old Newbury at The Cushing House has a boy's garment, called the Eleazer Johnson dress, which appears to have rare blond Ipswich lace collar and cuff trims. [2] A "dressed miniature" of Sarah Hamlin Sage by Mary Way (or her sister Betsy) is adorned with a shawl that appears to be a previously unknown Ipswich lace pattern. [17] The lace has characteristics of typical Ipswich motifs, and represents a non-garment based use of the lace in an art piece which is novel. [18] The Ipswich Historical Society and Ipswich Museum [19] have conserved artifacts of the lace-making activities. Historic New England displays an Ipswich pillow with bobbins and lace in progress on a pricking.

In the 1820s, attempts to mechanize lace production in Ipswich shifted activity away from hand made pillow laces to embroidery on lace bobbinet that was produced by machine. [20] Although some lace makers continued to produce pillow lace, and samples of Ipswich lace were cherished and stored by traditional lace makers like Sarah Lakeman, [21] hand-made lace making was no longer a widespread commercial practice.

In the 1970s, a lace restorer and self-taught lace maker named Michael Auclair [22] replicated the black Ipswich lace samples from the Library of Congress archives. By the 21st century, revived interest in this historical lace was supported by new scholarship and exhibition. [23] In 2001, an exhibit in The Smithsonian National Museum of American History called Within These Walls [24] displayed a historic house relocated from Ipswich [25] and included reproduction Ipswich lace and lacemaking tools. In addition, archived lace samples [26] [27] that are stored in the Library of Congress have been re-created by Karen Thompson, and pattern working diagrams have been published that enable lace makers to accurately reproduce this lace today. [28]

Ipswich lace has also appeared in popular culture. A trilogy of fiction books by Brunonia Barry uses Ipswich lace as a plot device, and a major character is a maker of the lace in one of the books, The Lace Reader. [29]

The New England Lace Group has initiated a project to raise the profile of Ipswich lace and the historical lace makers of this region. A mobile exhibit of Ipswich lace history and tools, and reproduction laces, has been developed to educate and inform at local historic sites and craft fairs. [30] Media coverage included discussion of the history of this textile and its cultural significance in the region. [31] [32]

Knauer, Karl (September 18, 2018). "Preserving Martha Washington's Shawl" (video). youtube.com. George Washington's Mount Vernon.

Isaac, Amanda (September 18, 2018). "RARE LOOK: Martha Washington's Shawl" (video). youtube.com. George Washington's Mount Vernon.

Neumann, Kathleen (November 15, 2022). "The Story of Ipswich Lace" (video). youtube.com. Maine Historical Society.

Related Research Articles

<span class="mw-page-title-main">Lace</span> Openwork fabric, patterned with open holes in the work, made by machine or by hand

Lace is a delicate fabric made of yarn or thread in an open weblike pattern, made by machine or by hand. Generally, lace is divided into two main categories, needlelace and bobbin lace, although there are other types of lace, such as knitted or crocheted lace. Other laces such as these are considered as a category of their specific craft. Knitted lace, therefore, is an example of knitting. This article considers both needle lace and bobbin lace.

<span class="mw-page-title-main">Bobbin lace</span> Handmade lace

Bobbin lace is a lace textile made by braiding and twisting lengths of thread, which are wound on bobbins to manage them. As the work progresses, the weaving is held in place with pins set in a lace pillow, the placement of the pins usually determined by a pattern or pricking pinned on the pillow.

<span class="mw-page-title-main">Chantilly lace</span> Type of silken bobbin lace

Chantilly lace is a handmade bobbin lace named after the city of Chantilly, France, in a tradition dating from the 17th century. The famous silk laces were introduced in the 18th century. Chantilly lace, was also produced in the 19th century but this one was actually made not in Chantilly area but in the French Norman town Bayeux and in Geraardsbergen, now in Belgium.

<span class="mw-page-title-main">Guipure</span> Type of bobbin lace in which motifs are connected by bars or plaits

Guipure lace is a type of bobbin lace. It connects the motifs with bars or plaits rather than net or mesh.

<span class="mw-page-title-main">Bobbinet</span> Hexagonal machine-made net fabric used in lacemaking

Bobbinet tulle or genuine tulle is a specific type of tulle which has been made in the United Kingdom since the invention of the bobbinet machine. John Heathcoat coined the term "bobbin net", or bobbinet as it is spelled today, to distinguish this machine-made tulle from the handmade "pillow lace", produced using a lace pillow to create bobbin lace. Machines based on his original designs are still in operation today producing fabrics in Perry Street, Chard, Somerset, UK.

<span class="mw-page-title-main">Mechlin lace</span> Type of Flemish bobbin lace

Mechlin lace or Point de Malines is an old bobbin lace, one of the best known Flemish laces, originally produced in Mechelen. Worn primarily during summer, it is fine, transparent, and looks best when worn over another color. Used for women's clothing, it was popular until the first decade of the 20th century. It was made in Mechelen, Antwerp, Lier and Turnhout. It was used for coiffures de nuit, garnitures de corset, ruffles and cravats.

<span class="mw-page-title-main">Blonde lace</span> Silken bobbin lace from France

Blonde lace is a continuous bobbin lace from France that is made of silk. The term blonde refers to the natural color of the silk thread. Originally this lace was made with the natural-colored silk, and later in black. Most blonde lace was also made in black. It was made in the 18th and 19th centuries. The pattern, which is generally of flowers, is made with a soft silk thread, thicker than the thread used for the ground. This causes a big contrast between the flowers and the ground. It uses the same stitches as Chantilly lace and Lille lace, and is similarly made in strips 5 in (13 cm) wide and invisibly joined. Blonde lace is not as good as Chantilly lace though, as the ground isn't as firm, nor is the pattern as regular.

<span class="mw-page-title-main">Bucks point lace</span> Type of bobbin lace from South East England

Bucks point is a bobbin lace from the South East of England. "Bucks" is short for Buckinghamshire, which was the main centre of production. The lace was also made in the nearby counties of Bedfordshire and Northamptonshire. Bucks point is very similar to the French Lille lace, and thus is often called English Lille. It is also similar to Mechlin lace and Chantilly lace.

<span class="mw-page-title-main">Torchon lace</span> A continuous, geometric bobbin lace

Torchon lace is a bobbin lace that was made all over Europe. It is continuous, with the pattern made at the same time as the ground. Typical basic stitches include whole stitch, half stitch, and twists, and common motifs include spiders and fans. Torchon lace was notable historically for being coarse and strong, as well as consisting of simple geometric patterns and straight lines. It did not use representational designs, for the most part.

<span class="mw-page-title-main">Irish lace</span> Irish textile art form

Irish lace has always been an important part of the Irish needlework tradition. Both needlepoint and bobbin laces were made in Ireland before the middle of the eighteenth century, but never, apparently, on a commercial scale. It was promoted by Irish aristocrats such as Lady Arabella Denny, the famous philanthropist, who used social and political connections to support the new industry and promote the sale of Irish lace abroad. Lady Denny, working in connection with the Dublin Society, introduced lace-making into the Dublin workhouses, especially among the children there. It is thought that it was an early form of Crochet, imitating the appearance of Venetian Gros Point lace.

<span class="mw-page-title-main">Mundillo</span> Handmade bobbin lace, tradition and cultural heritage of Puerto Rico and Panama

Mundillo is a craft of handmade bobbin lace that is cultivated and honored on the island of Puerto Rico and Panama. The term 'mundillo' means 'little world', referring to the cylindrical pillow on which the lace maker ('Mundillista') weaves intricate designs. The decorative lace is created using wooden bobbins about the diameter of a pencil, which are wound with thread that is twisted and crossed to form a pattern. Depending on the pattern, as few as two dozen or as many as several hundred bobbins may be used.

<span class="mw-page-title-main">Lacemaking in Croatia</span> Lacemaking tradition and intangible cultural heritage of Croatia

Lacemaking in Croatia is a tradition dating back to the Renaissance when lacemaking began spreading throughout the Mediterranean and continental Europe. Throughout the years, Croatian lace has become notable for its unique patterns and designs. In 2009, UNESCO recognised lacemaking in Croatia as an Intangible Cultural Heritage of Humanity.

<span class="mw-page-title-main">Lace machine</span> Powered equipment for producing imitations of hand-made lace

Lace machines took over the commercial manufacture of lace during the nineteenth century.

<span class="mw-page-title-main">Maltese lace</span> Type of guipure bobbin lace from Malta

Maltese lace is a style of bobbin lace made in Malta. It is a guipure style of lace. It is worked as a continuous width on a tall, thin, upright lace pillow. Bigger pieces are made of two or more parts sewn together.

<span class="mw-page-title-main">Part lace</span> Lace formed from knotted bobbin motifs

Part lace or sectional lace is a way of making bobbin lace. It characterises various styles, such as Honiton lace or Brussels lace.

<span class="mw-page-title-main">Mesh grounded bobbin lace</span> A continuous bobbin lace distinguished from Guipure

Mesh grounded lace is a continuous bobbin lace also known as straight lace. Continuous bobbin lace is made in one piece on a lace pillow. The threads of the ground enter motifs, then leave to join the ground again further down the process, all made in one go. This is different from part lace, where the motifs are created separately, then joined together afterwards.

Bobbin lace ground is the regular small mesh filling the open spaces of continuous bobbin lace. Other names for bobbin lace ground are net or réseau. The precise course of the threads and the resultant shape of the ground are an important diagnostic feature in lace identification, as different lace styles use different grounds.

<span class="mw-page-title-main">Leavers machine</span> Lacemaking machine invented by John Levers

The Leavers machine is a lacemaking machine that John Levers adapted from Heathcoat's Old Loughborough machine. It was made in Nottingham in 1813. The name of the machine was the Leavers machine. The original machine made net but it was discovered that the Jacquard apparatus could be adapted to it. From 1841 lace complete with pattern, net and outline could be made on the Leavers machine.

Cogne lace is a handmade bobbin lace that is made in Cogne, in the Aosta Valley in Italy. It takes the form of strips of lace, due to the manner in which it is made on a drum.

<span class="mw-page-title-main">Milanese bobbin lace</span> Style of historical bobbin lace developed in Milan

Milanese bobbin lace is a textile used as a fashion accessory or a decorative trim, first becoming popular in the 17th and 18th centuries in Milan. Lacemaking was an important economic activity in Northern Italy, besides touching on social status matters as well as being a culturally significant art form. The earliest versions of the lace consisted of the tape mostly filling the space. Typical characteristics of Milanese bobbin lace are scrolls made with curving clothwork tapes and floral motifs, and sometimes also consisting of human or animal figures. Sometimes needle lace techniques were combined with the bobbin lace pieces to create the final product.

References

  1. ↑ "Colonial Massachusetts Paternity Cases: The Endicott Story, Part II". GenealogyBank Blog. 2021-03-12. Retrieved 2023-10-18.
  2. 1 2 3 Cotterell, Marta (1999). Benes, Peter (ed.). "Laces of Ipswich, Massachusetts: An American Industry 1750-1840". Annual Proceedings (Dublin Seminar for New England Folklife). UPNE. 22: 82–99. ISBN   1-58465-163-6. OCLC   41178040.
  3. ↑ Powys, Marian (1953). "Lace-Making in New York State". New York History. 34 (2): 224–233. ISSN   0146-437X. JSTOR   23153315.
  4. ↑ Miller, Marla R. "Review: The Laces of Ipswich: The Art and Economics of an Early American Industry, 1750-1840". eh.net. Economic History Association. Retrieved 2 November 2020.
  5. ↑ Earnshaw, Pat (1984). A Dictionary of Lace (2nd ed.). Princes Risborough, Aylesbury, Bucks, UK: Shire Publications. ISBN   9780852637005.
  6. ↑ Adams, Hannah (1832). A memoir of Miss Hannah Adams, written by herself. With additional notices, by a friend. Boston: Boston, Gray and Bowen. p. 11. hdl:2027/yale.39002004865987.
  7. ↑ Thompson, Karen (8 May 2018). "What does Alexander Hamilton have to do with the lace industry in Ipswich, Massachusetts?". National Museum of American History. Retrieved 30 September 2020.
  8. ↑ Dana, Joseph. "Image 23 of Alexander Hamilton Papers: General Correspondence, 1734-1804; 1791, Jan.-May". The Library of Congress. Retrieved 1 October 2020.
  9. ↑ Pike, Richard (11 July 1797). "Impartial Herald". Newburyport MA. p. 4. Retrieved 30 September 2020.
  10. ↑ "Woman's mourning cap". Museum of Fine Arts, Boston. 49.1003. Retrieved 2021-04-28.
  11. ↑ "Woman's hood". collections.mfa.org. Retrieved 30 September 2020.
  12. ↑ "Woman's hooded cloak". collections.mfa.org. Retrieved 30 September 2020.
  13. ↑ "Lavish Lace". George Washington's Mount Vernon.
  14. ↑ Philbrick, Nathaniel (2021). Travels with George : in search of Washington and his legacy. New York. ISBN   978-0-525-56217-7. OCLC   1237806867.{{cite book}}: CS1 maint: location missing publisher (link)
  15. ↑ Unknown (c. 1790). "Lace trim". Mount Vernon. W-5529. Retrieved 12 March 2021.
  16. ↑ "The North Shore Lace Industry". Scottish Rite Masonic Museum & Library. Retrieved 30 September 2020.
  17. ↑ Ehrlich, Brian (2021-11-08). "Dressed for Success". The Magazine Antiques. Retrieved 2021-12-01.
  18. ↑ Mangan, Mary (2022-01-01). "Finding Ipswich Lace in an Unusual Way". The Bulletin. International Organization of Lace, Inc. 42 (2): 14–15.
  19. ↑ Ipswich Museum
  20. ↑ Candee, Richard (1999). Benes, Peter (ed.). "Lace Schools and Lace Factories: Female Outwork in New England's Machine-Lace Industry, 1818-1838". Annual proceedings (Dublin Seminar for New England Folklife). Boston University: 100–126. OCLC   41178040.{{cite journal}}: Cite journal requires |journal= (help)
  21. ↑ Vanderpoel, Emily Noyes (1924). American Lace and Lace-Makers. New Haven: Yale University Press.
  22. ↑ Barry, Ann (10 January 1985). "Preserving, Collecting, and Displaying Old Lace". New York Times. Retrieved 14 June 2021.
  23. ↑ Raffel, Marta Cotterell (2003). The Laces of Ipswich: The Art and Economics of an Early American Industry, 1750-1840. Hannover: University Press of New England.
  24. ↑ "Within These Walls". National Museum of American History. 16 March 2012. Retrieved 22 December 2020.
  25. ↑ Kelly, John. "Perspective | This might be Washington's oldest house, but it came from New England". Washington Post. Retrieved 22 December 2020.
  26. ↑ "Image 19 of Alexander Hamilton Papers: General Correspondence, 1734-1804; 1791, Jan.-May". Library of Congress. Retrieved 30 September 2020.
  27. ↑ "Image 21 of Alexander Hamilton Papers: General Correspondence, 1734-1804; 1791, Jan.-May". Library of Congress. Retrieved 30 September 2020.
  28. ↑ Thompson, Karen H. (25 May 2017). The Lace Samples from Ipswich, Massachusetts, 1789-1790 : History, Patterns, and Working Diagrams for 22 Lace Samples Preserved at the Library of Congress (1st ed.). [Washington, DC]. ISBN   9780999038505.{{cite book}}: CS1 maint: location missing publisher (link)
  29. ↑ Barry, Brunonia (2009). The lace reader. New York: Harper. ISBN   978-0-06-162477-3. OCLC   433105997.
  30. ↑ Mangan, Mary (Spring 2023). "Ipswich Lace: Curating a Mobile Exhibit". The Bulletin: International Organization of Lace, Inc. 43 (3): 27–29.
  31. ↑ Beland, Amanda; Dearing, Tiziana (2022-07-19). "How hundreds of men, women and children built a cottage lace industry in Ipswich" . Retrieved 2023-07-20.
  32. ↑ Andrews, Jeanmarie (June 2023). "Lace Making in Ipswich". Early American Life. 54 (3): 40–49. ISSN   1534-2042.
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