Article by Eva Lovett describing the Scuola d'Industrie Italiane, a lace and embroidery school for Italian immigrant girls at 28 Macdougal Street, New York, modeled on the Industrie Femminili Italiane schools in Italy. It covers the founding of the school, Carolina Amari's role, the Burano lace revival, working conditions and wages, and the stitches taught (punto reale, punto riccio, reticella, punto traforo, filet darning). It closes with a short history of the move from embroidery to reticella and pillow lace. Illustrated with photographs of reticella covers, pillows, bags and a copy of a Roman blouse.

A 1907 magazine article by Eva Lovett describing the lace collection acquired by the Lace and Embroidery Section of Pratt Institute in Brooklyn and the school's teaching methods. It surveys the roughly 900 to 1,000 specimens, from early drawn work, cut work and reticella to Venetian needle points, Valenciennes, Brussels, Honiton and Mechlin. It also explains the Pratt approach of original design, conventionalized nature motifs, and learning stitches in coarse thread, leading to the heavy 'Pratt point' lace used for hangings and trimmings. Illustrated with photographs of lace specimens and student work.

A 1906 International Studio article by Eva Lovett reviewing the newly arranged lace collection at the Metropolitan Museum of Art in New York, organized by the Viennese lace expert Frau Stephanie Kubasek. It surveys the chronological display, from Coptic openwork caps and darned netting (Netzarbeit) through drawn and cut work, Punto a Reticella and Punto in Aria needle laces, to Venetian points and early bobbin lace. Illustrated with six photographs of museum pieces, including German knotted net, Italian punto a maglia quadrata, and sixteenth-century needle point.

Second of two notices by Eva Lovett on the lace collection at the Metropolitan Museum of Art, New York, as displayed in 1906. It briefly traces the origin of needle and bobbin lace, then surveys the exhibited pieces: Venetian Rose Point, Flemish flounces, Brussels, Italian guipures, Point de France, Honiton, Alençon, Chantilly, Spanish and Limerick laces, plus Napoleonic pieces and curiosities. It closes with a framed demonstration of the division of labor in lace-making and a note on how the collection was acquired through gifts and loans. Illustrated with photographs of rose point, a cape, a Honiton collar, and several shawls.