COSTUME : LACE : NEEDLEPOINT

Object Name: Handkerchief
Maker: Unknown (Primary maker)
Date Made: c.1900
c.1900
Place Made: Ireland
Ireland
Description: A handkerchief of very fine linen lawn with a border of of Youghal needlepoint lace. This particular style of Irish lace was known as 'Rose Point'. As the name suggests, this type of lace is handmade using a needle and fine thread to create motifs using buttonhole stitch. Floral motifs created in this manner are then joined by a grid of interlinked bars or 'brides'. The lace is worked over a pattern, hand drawn or transfer printed, onto a solid background fabric in a contrasting colour. When the lace is completed, the backing fabric is removed. Youghal lace, in imitation of seventeenth century Italian needle lace, was developed by Mother Mary Smith of Presentation Convent, Youghal in the mid-nineteenth century to provide gainful employment for women in the local area. It achieved a degree of commercial success and royal patronage. A train of Irish needlepoint lace was made for Queen Mary for her visit to India in 1911. Found mainly on costume and small accessories such as handkerchefs and fans, Irish needlepoint lace fell out of favour after the First World War due to the cost of the labour-intensive work; by the 1930s it had all but disappeared. This fine example is one of a large collection of handerchiefs and archival material, held by UFTM, relating to the Belfast textile designer H.R.Lilley (1886 -1970).
Materials: linen : cotton
Catalogue Number: HOYFM.451.1987

National Museums NI holds over a million objects in the collection, as well as this we manage the records and associated images for each object through a working database. The national collection has been almost 200 years in the making, and we recognise that thinking about collecting and collections has evolved over this time and continues to evolve. As a result, some of our records may contain language and views that we now consider offensive and unacceptable, for example, reflecting racist attitudes. We are committed to addressing these issues, and to reviewing and updating our records accordingly. Working with researchers, communities and academic partners we are learning more about the stories behind objects, and we are committed to sharing these with our audiences. We welcome feedback. Please email [email protected]