A review from the journal Art et Décoration (1909) of the design competition held by the Société de la Dentelle de France and exhibited at the Pavillon de Marsan. The competition covered four objects: a scarf, a handkerchief, a tea tablecloth and a cushion. The author discusses the entries from the lace schools of Argentan and Le Puy and from individual designers (Mmes Berthelot, Bunoust, Gabert, Durand, de Lonlay, and M. Raybaud), commenting on composition, balance, motifs and technique (point d'Irlande, point de Venise, gold lace). It is illustrated with halftone photographs of the prize pieces.

A short article from the French journal Art et Décoration (December 1909, pp. 206-210) presenting new designs for filet brodé (embroidery on netted ground) as a follow-up to an earlier article. It encourages artists to create original, stylized patterns suited to the squared grid of filet work rather than copying museum pieces. It reproduces full-page designs by Méheut (St. Peter's fish, daturas, artichokes, hollyhocks) and a figural panel by Mezzara, and announces a forthcoming study of Venetian needle lace. The article is signed Paul Mezzara.

A French article by L. Deshairs from the journal Art et Décoration (August 1906) reviewing the exhibition of old and modern lace held at the Musée des Arts Décoratifs (Pavillon de Marsan) in Paris in 1906. It covers the revival efforts for handmade lace, cautions on dating, naming, forgeries and composite pieces, and surveys needle lace (point coupé, Venice, point de France, Sedan, Alençon, Argentan) and bobbin lace (Genoa, Binche, Malines, Valenciennes, Chantilly, blonde, Flemish application d'Angleterre). It also touches on 19th-century Alençon, Brussels appliqué, machine lace and the lace industry's crisis, and ends with a bibliography. Illustrated throughout with photographs of pieces from private collections and the museum.

A 1903 article from the French journal Art et Décoration on the lace school in Vienna and the revival of Austrian lace after the 1900 Paris Exposition. It covers how provincial lace schools, the Museum of Art and Industry's design studio and the Kunstgewerbeschule worked together, and how Professor Hrdlicka turned lace design from copying Renaissance lace to floral motifs from nature. It describes the needle lace and bobbin lace classes at the Vienna school and comments on illustrated pieces: fans, collars, a doily, a handkerchief and borders.

A French-language illustrated article on passementerie (trimmings made of braid, cord, soutache, tassels and knots), published in the journal Art et Décoration in 1908. It tries to define passementerie and set it apart from embroidery and lace. It then gives a historical survey from prehistoric and ancient peoples through the Orient, Greece and Rome to medieval and 17th-century France, followed by materials (silk, cotton, wool, raphia, metal threads, beads, spangles). It also describes techniques (sewing on paper, working on a nailed board, bench work for knots and lacs, hand-woven galons) and the four main product categories. Many plates show soutache and princesse work by designers such as P. Doizey, Keim and Bonnon-Dumoutier, with a figure of the common knots.

A short article from the journal Art et Décoration reporting on a design competition for a lace table cloth with a table runner, to be worked in Venetian point lace. It discusses the three prize-winning designs: Victor Blanc (first prize, wildflowers and poppies), Léon Balthazard (second prize, wheat ears and wild roses) and Marie-Louise Roullet (third prize, irises and dragonflies). The jury critiques each design and argues for new designs in lace rather than copies of Renaissance models. Illustrations reproduce the prize-winning lace designs.