A 1909 Metropolitan Museum of Art Bulletin article announcing the museum's acquisition of the Blackborne Collection of lace and surveying the history of lace from the late sixteenth to the eighteenth century. It discusses Venetian reticella and punto in aria, Baroque and Milanese figured laces, Netherlandish, French and Flemish types, and highlights a thirteen-panel Judith and Holofernes piece. Three photographs show Venetian needlepoint, a French point d'Alençon panel, and the Judith and Holofernes panel. It closes by noting the museum's lace holdings of nearly 3,000 pieces and the countries represented.

A short 1906 museum bulletin notice describing the bequest of seventeen antique laces from Mrs. Hamilton W. Cary to the Metropolitan Museum of Art. It discusses pieces of Point de France, Flemish bobbin lace, Burano and Venetian needlepoint, Old Brussels, Point de Milan and tape lace, with notes on their designs and provenance. Two photographs show a Flemish bobbin lace flounce and a North Italian guipure panel.

A single-page item from the Bulletin of the Metropolitan Museum of Art, November 1908, showing a photograph of a detail of a Venetian chalice veil. The caption identifies it as punto in aria figurato lace of the 16th to 17th century, given to the museum by Mrs. Magdalena Nuttall. The page carries the photograph and caption only, with no running text.

A short 1908 Metropolitan Museum of Art Bulletin notice describing the gift of Mrs. Magdalena Nuttall's lace collection of 984 pieces from about thirty-two countries. It surveys the Italian, French, Flemish, English and Irish holdings, naming types such as punto in aria, reticella, filet, buratto, Alençon and Argentan, and also mentions three lace pillows and twenty-two bobbins. It ends with a note on the donor and the display in Gallery 34.

A short museum bulletin notice reporting that the Metropolitan Museum of Art's lace collection, newly enlarged by gifts from Samuel S. Howland and Julian-James, has been examined and arranged by Madame Kubasek of Vienna. It describes the new display gallery next to the textile room, with green velvet backgrounds, new cases and wall-cabinets, and photographs of portraits showing lace. It credits volunteers who helped, and includes a plate of a Point de Venise lace gift.

A one-page entry from the Bulletin of the Metropolitan Museum of Art showing a needlepoint lace panel of a fox and a crane, illustrating the fable. The caption identifies it as Point d'Alençon, French, mid-seventeenth century. The page consists of a photograph with a brief caption.

A single page from the Bulletin of the Metropolitan Museum of Art (1909) reproducing a photograph of a detail of sixteenth-century Italian cutwork. The caption credits the piece as a gift of Mrs. Robert W. de Forest. The image shows a dense geometric openwork pattern with circular and radiating motifs and buttonhole-stitched bars. No article text is included.

A short 1906 museum bulletin notice describing the reinstallation of the Astor and Stuart Collections of Laces in Gallery 33 of the Metropolitan Museum of Art. It names the loans and gifts added, including Point d'Alençon, a rare early sixteenth-century needle-point, Swedish and Spanish pieces, and a Sioux-made lace lamp-shade. It credits Frau Kubasek with arranging the laces and Miss Margaret Taylor Johnston with the classification. It includes one photograph of the gallery.

A 1900s Metropolitan Museum of Art Bulletin article surveying the museum's lace collection, its history of gifts (McCallum, Astor and others), and its notable pieces. It discusses lacis, cutwork, reticella, punto in aria, Venetian flat, rose and gros points, tape and bobbin laces, and Flemish, Binche and Alençon examples, and traces how pattern books and ruff fashions shaped lace. Seven figures illustrate selected pieces, and footnotes cite Palliser, Errera and other sources.

A 1918 Metropolitan Museum of Art Bulletin article arguing that craftsmen since the invention of printing have drawn their designs mainly from engraved and printed 'ornament' (pattern books and prints) rather than from existing objects. It surveys engravers and pattern-book designers from the Renaissance to the Empire style and urges museums to collect prints, drawings and book decoration. Lace appears as one example, illustrated with a 1546 Pagani pattern and lace made from it in the Museum, alongside illustrations of cups and a Cellini sketch.

A short 1907 notice from the Bulletin of the Metropolitan Museum of Art on the museum's lace collection, enlarged by gifts from Samuel S. Howland and Julian-James. Madame Kubasek, newly arrived from Vienna, has examined and arranged the pieces, which will be shown in the gallery next to the textile room against green velvet, with photographs of portraits showing lace hung above. The notice credits several volunteers and includes a photograph of a Point de Venise lace given by Mrs. Julian-James.

A short 1913 museum bulletin article describing recent lace acquisitions at the Metropolitan Museum of Art. The main gift, from Mrs. Edward S. Harkness, comprises two Venetian needlepoint pieces, a modern Burano reproduction of point de France, and a Brussels bobbin lace flounce. The article also notes a drawnwork alb border, Spanish and English laces, and a point de France strip with figures. It discusses design and stylistic development from Venetian to French to Flemish lace. Two photographs of Venetian point and point de France are included.