Not currently on display at the V&A

Lappet

1740s (made)
Artist/Maker
Place of origin

These lappets formed part of a headdress, known as a ‘lace head’ in the 18th century. It was composed of a curved panel, the cap back, to which two long streamers were attached, called lappets. The whole ensemble was finished with a lace frill. The lappets might be pinned up on top of the head in pleats, but more usually were left to hang loose, fluttering with the slightest movement.

Among the various items of Englishwomen’s fashionable dress for which lace was used in the 18th century, the lace head was a particular focus for the display of wealth and taste. The quality of the lace, the excellence of its design and fine workmanship, and thus its likely expense, would be immediately apparent to observers.


Object details

Categories
Object type
Parts
This object consists of 2 parts.

  • Lappet
  • Lappet
Materials and techniques
Bobbin lace
Brief description
Pair of lappets, bobbin lace, Honiton, England, 1740s
Physical description
Pair of bobbin lace lappets, floral pattern in mirror repeat, scalloped edges. Good quality
Dimensions
  • Each length: 570mm
  • Each, maximum width: 12.5cm
  • Width: 310mm (Note: together stitched to mount)
  • Depth: 5mm
Gallery label
The highest quality European flax came from Holland, Flanders (Belgium) and France. Although flax was grown in England, Scotland and Ireland for weaving linen and making lace, Britain relied heavily on imported linen and lace. Lace was made with a needle and thread or by plaiting threads wound on bobbins. The finest linen thread for lacemaking was created by wetting the flax fibres with saliva or water during spinning.(21/04/2018 - 27/01/2019)
Credit line
Given from the Everts-Comnene-Logan Collection
Object history
RF number is 2003/17.

Donated by Lady Logan from the collection of her parents, Robert and Alexandra Everts. Robert Everts (b. Brussels 12 Sept. 1875; d. Brussels 30 April 1942) was born in Brussels the son of the Dutch Consul who adopted Belgian nationality c.1898 and entered the Belgian Diplomatic Service, serving in Paris (1900-09), Mexico (1901-02) and Bucharest (1902-06). He married Alexandra (b. Corfu 4 Feb. 1880; d. Brussels 1961) whose mother was Angelia née Calvocoressi and who chose the family name Comnene, in Brussels in 1913. Alexandra accompanied her husband in his foreign postings to Peking between 1910-16 and again in 1920-24, Berlin 1924-31 and Madrid 1932-29 after which the couple resided in Brussels. Together they formed collections of Mexican armour, Mexican textiles, Puebla ceramics, Spanish colonial glass; Chinese textiles, Chinese and Japanese lacquer, Chinese furniture, ceramics and metalwork; and they preserved inherited period lace.

Parts of these collections have been acquired by museums internationally:
The British Museum: Mexican textiles and beadwork (1994 AM3.1, AM7.1-20; 1996 AM10 1-18; 1997 AM4.1)
Mexico City, Franz Mayer Museum: Mexican rebosos and textiles (1994 AD-004, AD-020;DRA-0009, DRA-0025; AD-021, AD-030; DCH-0001, DCH-0010; AD-031, AD-038; DFB-007, DFB-0014); Ecclesiastical embroidered panels, XVI century (2002 09157-01966; DCN-0013, FCF-0011-15; FPA-0013-16)

Alexandra Comnene-Everts was herself a proficient artist and designer. Albums of her drawings of ornament on Chinese monuments (c. 1919-25) have been acquired by the British Library (1998 N Or.15493/1-6) and the bridal tiara she commissioned from Cartier in Paris is on loan to the Victoria & Albert Museum.

The acquisitions from this collection in the Victoria & Albert Museum are:
Asian, set of 8 kessus (silk tapestry), late Ming period (T.269-G-1971); feather fan, carved jewelled handle, Chinese, c. 1910 (FE-2008)

Fashion, 20th century dress (T.12-2003 – T.17-2003); Textiles, English, French, Belgian and Flemish lace (T.5 to T.10-2003; T.62 to T.65-2008)

Ref: Claire Brisby, ‘Angelia Calvocoressi 1840-1929: A Cosmopolitan Life’, Journal of the Hellenic Diaspora, 30.2 (2004), 97-130.
Summary
These lappets formed part of a headdress, known as a ‘lace head’ in the 18th century. It was composed of a curved panel, the cap back, to which two long streamers were attached, called lappets. The whole ensemble was finished with a lace frill. The lappets might be pinned up on top of the head in pleats, but more usually were left to hang loose, fluttering with the slightest movement.

Among the various items of Englishwomen’s fashionable dress for which lace was used in the 18th century, the lace head was a particular focus for the display of wealth and taste. The quality of the lace, the excellence of its design and fine workmanship, and thus its likely expense, would be immediately apparent to observers.
Collection
Accession number
T.9:1, 2-2003

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Record createdJune 5, 2003
Record URL
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