Article by Marian Hague describing an exhibit at the Cooper Union Museum that placed needle-made and bobbin-made laces of similar pattern side by side to show how technique affects design. It traces European lace design from the 16th to the 18th century: Italian reticello and scrolling bands, French candelabre patterns, wide Point de Sedan, Mechlin and Brussels flounces, and lace imitated in silk brocade, embroidery and pricked muslin. Nineteen numbered plates of museum and private-collection specimens carry detailed captions with dates, attributions and dimensions.

Report on the Needle and Bobbin Club's 1920 exhibition of ancient embroideries at the Arden Gallery, New York, describing pieces lent by members and dealers. It covers 16th-century gold-embroidered vestments and altar frontals, Byzantine and Greek Church pieces, Italian and Spanish counted-thread linen covers, bags and purses, caps, a dress, Calabrian bedspreads, and Egyptian Coptic and Arab fragments. Illustrated with halftone photographs of several of the lent pieces, with captions naming the lenders.

Short article describing three dated embroideries from the collection of Mrs. Cornelius J. Sullivan: a French cushion cover of 1617 worked in wool and silk on woollen serge, American crewel bed hangings signed Miriam Webb, 1756, and silk pole-screen panels marked R. I., 1804. It covers colors, dyes, materials, dimensions and the stitches used, including the so-called New England (Roumanian) stitch. Three plates illustrate the pieces, and a footnote points to other Bulletin articles on colonial crewelwork.

Marian Hague describes an 1882 auction of the lace collection of Madame Blanc, widow of the Monte Carlo gaming concessionaire, held at the Hôtel Drouot in Paris. She quotes Paul Eudel's account of the lace sale, which lists Venetian needlepoint flounces, point d'Angleterre, guipure and Alençon pieces with their dimensions and prices in francs and dollars. Hague then compares these prices with later sales, including the 1917 Beer sale in Paris and a New York auction of Flemish lace. The article is illustrated with a filet design from Vinciolo's 1588 pattern book.

A short article by Marian Hague comparing four small Italian 14th-century embroidered panels (three in Judge Irwin Untermyer's collection, one belonging to the author) with the large altar frontal signed by Geri Lapi of Florence at Manresa, Spain. It describes the technique: split stitch for figures and faces, satin stitch for tree sprays, and metal thread couched over linen-floss padding on the backgrounds. It also notes related panels from the Iklé set in the Lehman collection and the Cleveland Museum, and asks about Lapi's workshop. Most pages are photographs of panels and details, including the Adoration, Noli me tangere, Flight into Egypt, Three Marys at the Sepulchre and the Resurrection.

A short article by Marian Hague on lace designs that depict hunting subjects. It describes two pieces owned by Needle and Bobbin Club members: a Milanese bobbin lace with hunters, dogs and birds, and a Venetian tape guipure (mezzo punto) of the second half of the seventeenth century with hunters, eagles, rabbits and lions. It also mentions related examples in published works and two Metropolitan Museum pieces, a Mechlin lace and a point d'Angleterre strip showing Diana with her dogs. Illustrated with photographs of the laces.

Article by Marian Hague describing three previously unpublished pieces recently added to Richard C. Greenleaf's lace collection: a mid-17th-century Venetian needlepoint man's collar, a Flemish or Italian bobbin lace collar with gold thread, and a Brussels bobbin lace flounce with nymphs and cherubs in the design. It compares them with pieces in the Victoria and Albert, Cluny and other museums and discusses men's use of lace. It ends with a list of other Greenleaf pieces already illustrated in standard lace publications. Illustrated with a frontispiece and three plates.