Art, Exhibitions and Installations, Getty Research Institute

Treasures from the Vault: Needlework Pattern Books

Pattern books from the GRI's collection in a display case, summer 2012

Copies of pattern, model, and sample books for needlework are among the rarest of early modern printed books to survive intact. The reason is simple: virtually all such books were considered “working copies,” and leaves were torn out to be traced or taken away by prospective clients for further inspection and consideration.

Currently on display in the Plaza Display Case adjacent to the lobby of the Getty Research Institute—in conjunction with the exhibition of recent print acquisitions—are two early printed “lace-books.”

Included is the only known complete copy in America of the earliest surviving edition of Nicolò Zoppino’s Convivio delle belle donne (Banquet of the beautiful women), a Venetian model book for embroidery and lace.

Facsimile of the title page from Nicolo Zoppino's book Convivio delle belle bonne

Facsimile of the title page from Nicolò Zoppino's Convivio delle belle bonne... (Venice, 1531)

This book contains 39 woodcut illustrations of needlework patterns, ranging from simple block-alphabet templates for monograms to complex figural and ornamental designs. Copies were worked out of existence by their “readers” soon after they were issued from the press. In the four years between 1529 and 1532 alone, market demand incited eight editions, printed under various titles, of Zoppino’s needlework patterns. The title here explicitly advertises to the publisher’s target audience: Venetian noblewomen—or, at least, presents such a fiction to those who wanted to emulate their creative leisurely pursuits.

Ornamental Needlework Patterns / Nicolo Zoppino

Ornamental Needlework Patterns, Nicolò Zoppino (Italian, fl. 1503–1544). Woodcuts in Convivio delle belle bonne... (Venice, 1531). The Getty Research Institute, 2917-968

Originating in Renaissance Venice, this trend was more than a passing fad. Over 70 years later, the popularity of lingerie (lacemaking) in Paris still offered a profitable market for such pattern books. Among the most successful were those associated with the Venetian emigré and embroidery master Federico de Vinciolo.

Facsimile of the title page from Federico de Vinciolo's Les secondes oeuvres et subtiles inventions de lingerie

Facsimile of the title page from Federico de Vinciolo's Les secondes oeuvres et subtiles inventions de lingerie... (Paris, 1603)

This French edition of his book, included in the display, has 61 leaves of engraved patterns for lace and emphasizes practical usage. The illustrations include grids to allow the transfer of patterns and instructions on the amount of material required to realize each design. For instance, the opening on display, shown below, indicates that “ce pot de fleurs et l’enrichissement co[n]tie[n]t en haut. 148 maille, et en lar. 116” (this flowerpot and ornamental border is 148 stitches high and 116 wide).

Flowerpot Pattern for Embroidery or Lace / Federico de Vinciolo

Flowerpot Pattern for Embroidery or Lace, Federico de Vinciolo (Italian, fl. 1587–1599). Copperplate engravings in Les secondes oeuvres et subtiles inventions de lingerie... (Paris, 1603). The Getty Research Institute, 2888-137

The lace-books are on display through mid-August.

“Treasures from the Vault” is an occasional series spotlighting the varied and unique holdings of the Research Library at the Getty Research Institute.

Tagged , , , , , , , Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.

One Comment

  1. Mrs. Deirdre Day
    Posted October 30, 2013 at 4:30 pm | Permalink

    As an older lady just coming to terms with the computer I was so excited to find your fascinating web-site.

    Ancient needlework has been a life-long passion for me, specialising in Crewel work. Being able to access images of historical pieces is an invaluable resource.

    Thanks indeed! Deirdre Day

Post a Comment

Your email is never published or shared. Required fields are marked *

*
*

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

  • Facebook

  • Twitter

  • Tumblr

    • photo from Tumblr

      It’s been 125 years since Van Gogh’s death, today we celebrate his life’s work.


      5 Ways to See Van Gogh’s Irises

      Through observations, visitor conversations, and some sneaky eavesdropping, we’ve compiled the top 5 ways people enjoy this painting.

      1. In a Crowd
        One of the most obvious ways that people see the painting is in a crowd. The gallery is almost always filled, and you might have to wait before you can get up close. The anticipation builds as you start in the back row, and slowly move until you are close enough to see the brushstrokes of Van Gogh’s thick paint.

      2. Online
        David from Colorado said that this was his first visit, but he had already seen the painting online. In addition to being available through the Getty’s Open Content program, the painting is often seen on social media. Just search #irises on Instagram for a taste of the painting’s popularity. 

      3. Alone
        If you arrive right at 10 a.m. when the museum opens, the quiet gallery provides a perfect backdrop to really examine the painting. Solitude and seclusion gives the gallery a sense of intimacy. 

      4. Multiple Times
        Repeat visits can give rise to multiple interpretations. Is it a melancholy or joyous painting? Expressive or depressive? 

      5. Internationally
        Visitors from all across the world viewed this famous Van Gogh. In just one hour you can hear multiple languages—French, Italian, Chinese, Korean, German, and more. Irises seems to rise above cultural boundaries—a Dutch painting inspired by Japanese ukiyo-e prints—to strike an emotional resonance amongst all viewers. 

      What is your favorite lens to view Van Gogh’s work through? 

      07/29/15

  • Flickr