Netted Lace: Exquisite Patterns and Practical Techniques

Netting had its origins in prehistoric times with the invention of fishing nets, and later became one of the very earliest forms of lace. Its use was widespread as the base for filet lace. Many of today’s filet lacemakers use machine-made net as the base for their work, but Margaret Morgan found herself challenged by the need for netting in sizes and colours that were not commercially available, and discovered the techniques hidden in old source material. In Netted Lace she presents the simple equipment and techniques required to make your own netting, with detailed illustrated instructions for netting backgrounds in a variety of sizes and shapes, and numerous edgings.

There are patterns for round, rectangular and oval table mats, table centres and doilies of netted lace, many of which can be embroidered in linen stitch. Margaret’s experimentation has also led to patterns for attractive scarves and shawls made with heavier yarns and larger needles, using basic netting techniques, and for miniature items which could be used in a doll’s house, made with very fine threads and smaller needles – more than forty patterns overall. Margaret hopes that this book will capture your imagination and that you too will enjoy experimenting with netting.

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Mediterranean Knotted Lace

Knotted lace is one of the oldest forms of making lace and is believed to have originated in the Eastern Mediterranean around 2000 years ago. Also commonly referred to as Armenian Lace, it is also known as Billila, Oya, Palestinian Lace, Nazareth Lace, Smyrna Stitch and Phoenician Lace.

Elena Dickson has a wide audience for her lace making techniques, contributed to by her first publication Knotted Lace in the Eastern Mediterranean Tradition, and from touring Australia and the USA conducting workshops. This latest book has all new motifs and doily designs and includes all stitch instructions, descriptive diagrams and black and white photographs of finished projects.

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Bibilla Knotted Lace Flowers

Bibilla Knotted Lace Flowers brings to a modern audience a form of lace that is believed to have originated in antiquity and that has been practised in many countries of the eastern Mediterranean. References to it were made in the works of Homer and Plato. Knotted lace has all but died out in most places, but it is still made in modern-day Turkey and used to adorn headscarves and other items of clothing.

Elena Dickson’s interest in Bibilla flowers began many years ago. This book was inspired by her desire to create new designs in knotted lace, and is the result of countless hours of experimentation. She has modified the traditional techniques to make her flowers as realistic as possible, rather than the symbolic representations common to the older style. Patterns for several flowers commonly found in Australian gardens, and a number of Australian natives, are the result of her work.

Elena’s detailed step-by-step illustrated instructions for each flower will ensure success for any lacemaker, beginner or expert.

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The Borris Lace Collection: A Unique Irish Needlelace

When Marie and Annette visited Borris House in 2006, the lace in the Borris Lace Collection was uncatalogued, unpublished, and almost completely unknown in Ireland. Mrs Tina Kavanagh, the current custodian, was unsure of how best to proceed. Remaining family members knew only a little of the provenance. Knowledge of the old techniques and true characteristics of the lace had been lost. They were concerned that unless the history and techniques were researched and recorded without delay, the technique of Borris lace and the provenance that was currently known could be lost forever. Marie and Annette suggested that the best way of conserving the lace was to catalogue it, provide archival storage and write up the significance as well as the history, so that future family custodians will be well informed of its social, cultural and historical significance to Borris and Ireland, its heritage value to the Kavanagh family and, lastly, as an inspiration to lacemakers who may over time be privileged to visit Borris and view the collection for themselves. It was not until they returned to Australia and Marie commenced to rework the patterns and repair the bedspread on loan to us, that she discovered some unique techniques. Marie and Annette hope that their efforts will ensure the long-term survival and appreciation of this remarkable lace.

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