A three-page portfolio supplement to the October 1953 issue of the Shuttle-Craft Bulletin (Vol. XXX, No. 10). It consists of a decorated cover with a stylized loom drawing and two pages with mounted woven fabric swatches on green cards. The swatches appear to show open, lacy weave effects, including an eyelet-like band and a cross pattern formed by heavier bands in an open plain weave. No readable text or drafts are present in the scan.

US Design Patent No. 35,753, granted February 18, 1902 to Isaac E. Palmer of Middletown, Connecticut, for a hammock fabric design. The specification describes warp threads in groups of pairs that alternately separate and approach each other, interlocking with weft threads also arranged in pairs. Two drawings show the face and reverse views of the open lattice-like fabric.

A one-page article from Master Weaver explaining how to imitate leno (gauze) weave using a lace weave, here 6;6 huckaback lace. It describes using heavy yarn for the float-forming warp ends and picks and fine yarn for the tabby, with sleying, treadling and yarn suggestions, plus a draft. The page also carries a short editor's note about upcoming issues, the Standards discussion, and sample cards.

A 1916 installment of Posselt's "A Study in Weave Formation" explaining imitation gauze weaves, also called mock-lenos or open-work effects. It describes how perforations arise from grouping warp and filling threads, with reed denting that leaves empty dents between groups. Weaves on 6, 8 and 10 harnesses are explained with drawdowns and fabric sketches, followed by figured effects that combine gauze and plain weaving in stripes or checks. The scan also includes a short unrelated item on South Africa's demand for silk ribbons.

Part 1 of an article by M. Loescher of Gera-Reuss, Germany, on figured mock-lenos, which imitate true leno gauze through floating warp or filling figure ends on a plain weave ground and can be woven at normal loom speed. It covers the principles (floats, separate figure beam, slack figure warp, reeding), outlines five groups of mock-leno, and works through the first two: quadrangular floats and pointed floats. Numbered designs (drawdowns), sketches and photographs of woven samples illustrate each type.

Second installment of M. Loescher's article on figured mock (imitation) lenos, covering Sections III to V. It describes figured imitation lenos with interlacing between the figures, lenos with only one floating warp end, and designs with warp or filling floats on the cloth surface that are not true imitation lenos. Sketches and Designs 17 to 33 are shown as drawdowns, each with notes on how the figure forms, warp and filling tension, and the effect in the cloth.

A short article from Master Weaver explaining hålkrus (also called Gagnefkrus, spetsväv, lacey weave or colonial honeycomb), a "distorted weft" weave in which tabby and unwoven areas make the pattern weft curve. It covers the structure of the draft, the classical two-shot pattern weft method versus the modern single heavy weft, threading on overshot or plain twill drafts, and limits on use of the fabric. Five draft figures illustrate two-block and four-block versions and twill-threaded variants.

A short article from Master Weaver on making a first sampler in net weaving, a technique that uses a special comb to open net sheds and a rigid weft inserted among tabby ground picks. It covers warp choice (cotton 10/2 at 24 ends per inch), suitable threadings, and materials for the rigid weft: wood strips, bamboo and bulrushes. It then gives instructions for six samples that vary the spacing of tabby picks, the number of strips, and the comb position. It ends with ideas for further experiments and for advanced work with doup leno and double weaves.

A 1928 Handicrafter article by Mary Meigs Atwater introducing an open-work (lace-work) weave of Scandinavian origin on four shafts. It gives threading and treadling drafts for a linen curtain and for a scarf or shawl, with sett, yarn choices, border arrangements, and loom tie-up transpositions for treadle and table looms. It also suggests variations such as dress fabrics, baby blankets, drapery with grouped warp threads, and six-treadle tie-ups.

Article by Elmer Wallace Hickman introducing Scandinavian Spetsvav, which he calls "Lacey-weave", a technique he describes as a vertical counterpart of overshot. Heavier tabby shots pack down the pattern weft to form a pattern of depressions. It covers the weave's Scandinavian names, suggested yarns for table covers, evening bags, knitting bags and pillow tops, and treadling and set-up notes for five drafts. A page of seven drafts with a shared tie-up and a list of Scandinavian weaving books are included.

A short portfolio insert from the February 1953 Shuttle-Craft Bulletin, consisting of a cover, a page of notes, and a card mounting two fabric swatches. The notes describe a yellow open-texture linen sample (possibly Atwater or Swedish lace) and an eggplant cotton sample showing lace blocks on ten harnesses. They explain how the lace texture is reduced block by block by adding pattern harnesses until plain tabby results.

An article from Master Weaver that compares Bronson lace with Swedish lace. It argues that the lace is identical in a single block but differs in two-block drafts, tie-ups, and block alignment, and that Swedish lace suits counterbalanced looms without a shed regulator. It then explains turned Swedish lace in detail: threading units, incidental heddles, a profile draft, treadling sequences, and a practical project in 20/2 linen at 20 ends per inch with 286 ends. Ten figures (drafts and drawdowns) illustrate the comparison.

A two-page article from the Master Weaver explaining a small four-shaft lace weave, called Twill Lace, that is derived from 6x6 huckaback by eliminating heddles so that the threading becomes plain twill. It covers treadling with two tabby sheds and two opposite twill sheds, single-block lace patterns, sleying and sett, and the 50:50 balance of the fabric. It ends with a practical project for linen towels on 4 shafts, with warp, weft, treadling and finishing details.

May 1957 issue of Warp and Weft, a monthly newsletter from Robin & Russ Handweavers of Santa Barbara, California. It includes an editor's column, a cover note on a wall hanging woven with broom sedge, a place-mat project with threading and sleying instructions, and a reprinted article on how humidity and static electricity affect weaving. The main feature is the "Fleur-de-Lis" upholstery fabric, a four-shaft canvas (mock leno) weave in cotton and linen, with draft, treadlings, yardage, shrinkage and cost figures. The issue ends with classified and display ads for looms, yarns and weaving equipment.

Issue of a small handweaving newsletter published in Sedona, Arizona by Mary Pendleton. The main project is a lace-weave linen place mat woven on four harnesses with Knox Mercerized Linen 20/2, with threading, tie-up, warp color order, treadling and beating directions, plus a knitted lace linen place mat pattern using the same yarn. Other items include a 'Sticky Problem' column on instructing a helper when warping, a tip on weaving with linen, a calendar of weaving events, book recommendations on Navajo and Southwestern Indian arts, yarn and loom listings, a poem, a recipe, and local news.

A two-page excerpt from Posselt's Textile Journal (June 1912) explaining spider weaves, which use floating warp and filling threads to form a net-like honeycomb or hexagon effect over a plain-weave ground. It gives construction rules and describes weaves Figs. 1, 3, 4, 6 and 8 with repeat sizes (e.g. 24 x 28, 28 x 32), their fabric sketches, and a 9-harness dobby drawing-in draft. The scan also opens with the end of a piece on distributing figures in satin settings with the Royle card stamper and repeater, and closes with the start of a section on faults in cotton fabrics (reedy cloth, floats).

March 1959 issue of Warp and Weft, a monthly handweaving periodical from Robin & Russ Handweavers of Santa Barbara. The main feature is "Turned Swedish Lace," a place-mat weave on four shafts and six treadles with tie-up, a five-part threading draft, treadling, sett and cost, woven in 16/2 ramie (blue warp, green weft) with an attached sample. The issue also has the editor's column, a cover note on Sarah Fowler's Book of Drafts (a Westfield Diaper Bronson-type pattern), a review of Edward F. Worst's How to Weave Linens, guild and class news, classified ads and loom advertisements.

December 1955 issue of the monthly Warp and Weft from Robin & Russ Handweavers, Santa Barbara. The monthly fabric sample is a red and silver mock leno, "A Christmas Check", with a four-shaft threading draft, tie-up, treadling, an unusual reed sleying, notes on beating the weft in groups of three, and a per-yard cost breakdown. Other items include an editor's column, a profile of Dallas weaver Estella M. Henkel, and reviews of Contemporary Handweaving (Overman and Smith) and Handweaving for Pleasure and Profit (Harriette J. Brown). The issue closes with advertisements for Wade looms and equipment and holiday greetings.

January 1951 issue of the Kentucky Weaver, published by Little Loomhouse in Louisville. It gives stepwise instruction in spider lace, including the 6-thread unit, weaving on the same or alternate sheds, and sample warps in linen with metallic wefts. It then shows how one jonquil cartoon by Opal Brinson can be transposed into spider lace, basic lace, leno lace, oneharness, laidin, Dukagang and embroidery tapestry techniques, ending with an all-around border for place mats. The editorial discusses the "woven term paper" for college weaving classes.

June 1956 issue of the Shuttle Craft Guild Handweaver's Bulletin (Portfolio edition), devoted to Swedish Lace on four shafts. It reviews Swedish Lace drafts from Scandinavian weaving books (Block, Halvorsen, Jespersen and Jornung, Selander), compares Swedish Lace with Atwater-Bronson Lace, and traces its derivation from point twill and Huck. It also covers variations: Turned Lace, All-Over two-color Lace and a pick-up method, with drafts, tie-ups and treadlings, general remarks on sett and fibers, and notes on the mounted samples. The issue also includes a feature on Grant Hand Weaving Supply Company of Los Angeles and Tidball's letter to members with supply news.

A short instruction leaflet by Osma Gallinger Tod presenting a four-harness lace sampler on a special threading, a National Conference pattern credited to Mrs. Loraine Kessenich. It gives the warp and threading plan (16/4 cotton or Perle 5, 20 epi, 192 threads) and treadling and weaving directions for fourteen borders, including overshot, Bronson, dropdrall, Spanish lace, leno, Danish medallion, basket weave and Monk's cloth variations. It ends with a list of related lace-weave leaflets and folios offered by the publisher.

Issue 2 of the short-lived handweaving newsletter Warp and Weft, edited by Mary F. Bottlemy, published in December 1947. It includes a holiday greeting, a follow-up on yarns used in the tubular weaving sample from the previous issue, loom tips, a classified ad for a rebuilt Norwood loom, and a lace weave draft for a counterbalanced loom with treadling and variations. Brief notes on twill and overshot, reader questions on sectional-beam warping, edge pulling and wool warp dressing, a Christmas-card scrap craft, and a Chicago Weaver's Guild meeting announcement follow.

February 1958 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of Santa Barbara, California. The featured sample is 'Pink Ice', a baby blanket in a three-harness Swedish lace weave using Bernat Weaving Afghan and 6/3 rayon, with threading, tie-up, treadling, sett, yarn costs and notes on loom suitability. Other items include a profile of the Yarn Depot in San Francisco, a review of Elmer Hickman's folio 'Glamorous Table Linens', instructions for a Mexican quetesgametel shawl, an announcement of a multiple-harness bulletin and a naming contest, and classified and loom/yarn advertisements.

January 1961 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers in Santa Barbara. It includes the editor's column, a profile of the Tranquillity Studio (Ann and Cliff Hotchkiss) in Cornwall Bridge, Connecticut, and a project sample, a baby blanket in open lace weave using pompadour yarn, with a threading draft, tie-up, treadling, yarn details and cost. Other items are a review of the editor's book on card weaving, a report on a ramie durability test, classified ads for yarns and supplies, and a marketplace page.

October 1961 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers in Santa Barbara. It gives a plan for a linen Swedish lace place mat with an all-around border (20/2 linen, 24 epi, 4-shaft threading, tie-up and treadling), and a monthly sample, a open lacey carriage or crib cover in wool, worsted and rayon boucle, with threading, sleying, tie-ups for counterbalanced and jack looms, treadling, and thread costs. Also includes the editor's column, a note on the cover wall hanging "Spare Time", a review of Harriet Tidball's The Weaver's Book, classified ads for equipment and yarns, and supplier advertisements.

September 1964 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers in McMinnville, Oregon. The main feature is a four-shaft canvas-weave sample called Icy-Gold, with threading, tie-up and treadling drafts for counter-balanced and jack looms, yarn specifications (20/2 mercerized ramie warp, ramie and silver-twist rayon boucle weft), sett, selvage threadings and a cost breakdown per yard. The issue also has the editor's column, a note on the cover display by the Mount Lassen Weavers Guild, a review of Harriet Tidball's folio Contemporary Tapestry, a discussion of the definition of canvas weave, a cartoon, and pages of classified and display advertising for yarns and books.

May 1967 issue of the monthly Warp and Weft from Robin & Russ Handweavers, McMinnville, Oregon. It gives full drafts, sleying and treadling for a ramie rib-lace fabric in blush pink and natural (with two alternate treadlings, fabric costs and a 14-inch place-mat plan) and a second project, a white ramie/linen "Shimmer" place-mat with metallic weft. It also includes the editor's note about a buying trip to Europe, a cover note on a guild sample display, a review of Margaret Seagroatt's Coptic Weaves, and classified ads for yarns, books, and equipment.

November 1949 issue of Warp & Weft, a monthly handweaving newsletter published in Chicago. It reports on a Mary Meigs Atwater weaving conference in Kankakee, gives a draft and instructions for a lace-and-plain checkerboard baby blanket or afghan in wool, and offers tips on four-sided fringe, blocking woolens, and Christmas handweaving gift ideas. It also includes a notice about changing the Norwood loom tie-up (with standard counterbalanced and rising shed charts), a Q&A on wool yarn fuzziness, and an advertisement for Beehive yarns.

March 1978 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers in McMinnville, Oregon. It features a 4-shaft canvas weave sample, "Swiss Miss and Blue Bells," in Ramie warp and Swiss linen weft, with tie-up, threading, reed, sett and treadling details. A second project gives a lace Bronson baby blanket in 2/18 worsted with draft and treadling. The issue also has the editor's column, a review of Cyrus-Zetterstrom's Manual of Swedish Handweaving, notes on the overshot "Finnish Diamond" cover piece, a reader report on a Circle Overshot bookmark, and classified ads for yarns and equipment.

January 1981 issue of Warp & Weft, the monthly sample bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's report on a yarn-buying trip after the Southern California Handweavers Conference, a cover photograph note about a 12-harness bedspread, and a review of Susan Gilmurray's book Weaving Tricks. The main feature is a four-shaft table linen sample combining Swedish lace with plain weave in raw grey linen and bleached ramie, with tie-up, threading, treadling, sleying, weaving tips, and fabric cost. The issue closes with classified yarn advertisements and a marketplace page.

January 1985 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's column, a review of Bessie Attenborough's The Craft of Tatting, and a note on the cover photo, an 8-harness undulating weft sample. The main project is a 4-shaft linen lace placemat fabric in 6/2 Swiss linen, with tie-up, threading, special reed sleying, treadling, warping plan and cost breakdown. The rest of the issue is classified and product advertising for silk yarns, looms, books and workshops.

December 1956 issue of Warp & Weft, a monthly handweaving newsletter from Robin & Russ Handweavers in Santa Barbara. It includes the editor's column on price increases and a chenille double-weave rug, a profile of weaver Karin Haakonsen Melander, and a project for an 8-harness Diamond Lace pattern in linen with threading, tie-up, treadling, uses and cost figures. Shorter items cover selvages for overshot, huck, Swedish lace and Bronson, the Mary Meigs Atwater Memorial Fund, classified ads and seasonal advertisements.

June 1959 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers in Santa Barbara. The main weaving content is a Canvas Lace project in 20/2 ramie, with threading and tie-up drafts, treadling, sett of 30 ends per inch, cost figures and a table-cloth warp plan. Other items include Ethel Born's account of shearing, spinning, vegetable dyeing and weaving two afghans, a review of Elmer Hickman's folio Town and Country Tweeds, a note on weaving separate fringes, and a correction about the Marguerite P. Davison collection. The issue ends with advertisements for looms, yarns and weaving classes.

June 1960 issue of the monthly Warp and Weft from Robin & Russ Handweavers, Santa Barbara. It features a monthly sample, Canvas Sheer, a semi-sheer drapery fabric in canvas weave on four shafts, with a threading draft, tie-up, treadlings, reed sleying, yarn details and a cost breakdown per yard. It also has an editor's column, a review of The Square Knot Handicraft Guide, an article on the Arts and Crafts Society of Portland, Oregon, a cover note on a tapestry, classified ads and loom and yarn advertisements.

October 1964 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It gives two projects with drafts, treadling, yarn costs and weaving tips: "Buff and Pink," a canvas weave in ramie and silver-twist rayon boucle for drapery and place mats, and an area rug in honeycomb weave using linen rug warp and wool weft. It also has an editor's column, a note on the Dukagang wall hanging on the cover, a review of Elsie Davenport's "Your Handspinning," and pages of classified ads for yarns and books.

May 1965 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on weaving conferences, a review of Elmer Hickman's folio "Plaids", and a note on the silkworm life-cycle cover. The main projects are a 4-harness canvas weave upholstery fabric in Egyptian cotton with a rayon boucle accent (threading, tie-up, treadling, thread costs) and a crackle weave place-mat in ramie or linen, with an explanation of blocks and incidental threads. The issue ends with classified ads and marketplace ads for yarns, books and equipment.

April 1953 issue of the monthly handweaving newsletter Warp & Weft, edited by Gladys Rogers Brophil. The main project is a corded lace carriage cover (baby robe) woven in carriage cover tweed, with tie-up, threading for two warp beam sections, treadling, sleying in an 8-dent reed, and notes on leno decoration, edge finishing and size. Other items cover weaving for wearing (capes, fringed fabrics, striped and satin-weave imports, stoles), a book review of The Weaver by Harold E. Dye, Silas Says historical notes, a Q&A on wool labelling terms, three weaving poems, and workshop and supplier advertisements. The front page carries guild news and an obituary note for Marguerite Porter Davison.

February 1968 issue of Warp & Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of McMinnville, Oregon, edited by Russell E. Groff. It features a 4-harness canvas weave project, "Lemon and Gray," with tie-up, threading, a special 16-dent sleying, treadling, thread costs and fabric cost. Other items include a review of Jean Wilson's book Weaving Is for Anyone, a cover note on the Barbour linen mills in Ireland, an announcement of a subscription price rise to $4.50, and Groff's comparison of English and American handweaving after his 1967 trip. The issue closes with classified ads and supplier advertisements.

US Design Patent No. 34,332, granted April 2, 1901 to Isaac E. Palmer of Middletown, Connecticut, for a fabric design. The specification describes warp threads arranged in groups of three, with the two outer threads crossing to form loops and the middle thread running between them. Zigzag weft threads pass between the loops and the middle thread, giving a lace-like open mesh. Two drawings show the two sides of the fabric.

A one-page question-and-answer column by Mary M. Atwater explaining the "Bronson" weave, which she says is properly called Spot weave and is of English origin. She describes straight Bronson threading, the variant threadings that allow a lace effect, and how Bronson lace differs from Swedish lace weave. She cites specific draft numbers and pages in her Shuttle-Craft Book.

A three-page article, the second in a series on spot weaves, from Master Weaver (February 1952). It describes single spot weave, with floats that are vertical on one face and horizontal on the other, and discusses float lengths and unit sizes. It then covers imitation lace effects, huckaback worked on spot threading, single-face spot weave, and turned floats, in which vertical and horizontal floats are combined in one fabric. Drafts, tie-ups, drawdowns and treadling sequences accompany the text.

A one-page article from the Master Weaver series on net weaves, describing whip net, in which all warp ends cross each other at the same rate with no gauze or tabby ground. It explains a slow pick-up method on a loom set up for open gauze (8/2 mercerized cotton, 16 ends per inch, No. 8 reed) and a faster method using a net-stick with doups, similar to traditional bead lamms. It also mentions making the weave with a net comb. A diagram labeled A through G shows the warp crossings.

Article by Nellie Sargent Johnson on Spanish weave, a lacy weft-grouping technique worked on a plain weave ground in which weft passes through groups of warp threads to form slanting stitches. She describes how she encountered the technique, gives step-by-step instructions for the basic stitch, and presents variations: pyramid and small figures, tightly pulled borders with open warp spaces, large groups on a picture frame loom, and an overlay stitch. Illustrated with photographs of samplers, towels and runners and with line drawings of weft courses; one page contains a diagram-style draft.

Gertrude Whitman Howells describes the Spanish stitch, a lacy, open weft technique woven on a tabby shed, which she revived after finding an old linen strip in Seville. She gives its history in the Toledo region, the three-movement method, and step-by-step directions for a row of pyramids. She also covers common mistakes, suggested reed, warp and weft yarns, and her use of a colored foundation warp. Illustrations include cross-stitch pattern charts, a sample strip drawing, and photographs of a runner with a fringed end and a corner.

Article by Elmer Wallace Hickman describing "Waffle Lace," a semi-open, three-level fabric woven on a four-harness waffle weave threading (4-3-2-1-2-1-2-3) using nylon, linen, carpet warp, Tensolite and Beadette or metallic gimp. It gives warp and weft yarns, sleying, treadling and tie-up, weaving and finishing tips, color schemes, and supply sources. Suggested uses include handbags, lamp shades, screens, and tray or table-top decoration. A converted graphic draft and an actual-size sample are included, plus a short biography of the author.

An instalment of the Master Weaver series on net weaves, focused on whip net woven with doups on a three-shaft setup plus a shaft for standards. It gives the draft and treadling, explains the counterbalanced tie-up with sinking sheds, and describes making net doups and opening the difficult second shed. It also covers weft take-up and the need for templets. A short closing piece, Terminology, laments the confused weaving terms used by non-weaver historians.

Berta Frey describes how to weave a modern twin-size cotton bedspread in a Swedish lace (turned) structure using Lily's Floss. It gives threading drafts for 40-, 30- and 20-inch looms, with the spread built from panels joined by decorative seams, plus tie-up, treadling units, finishing, yardage and shrinkage test results. A close-up photograph shows the finished spread.

An article by Elmer Wallace Hickman on weaving large, openwork shawls from heavy woolen yarns as a source of income. It explains the openwork "windows" pattern borrowed from a Danish curtain draft, with advice on yarn and color choice, light beating, shuttles, selvages and joining weft ends. It closes with a draft explanation and warp, weft and reed details for three sample shawls, plus finishing notes.

An article from Master Weaver explaining how to "turn" a weave, that is, change the direction of floats, and applying it to spot-lace on four frames (six treadles). It covers tie-up changes that allow horizontal or vertical floats on the same side, profile drafts for separate and combined blocks, threading sequences for six-end units, and a complete linen project with treadling to square the pattern. A short editorial note by S.A. Nielinski on a forthcoming series of drafting lessons follows.

A short 1938 article by Helen Louise Allen on "woven lace," a loom-woven imitation of bobbin lace reportedly made in colonial America. She cites a Metropolitan Museum piece and descriptions by Francis Morris and Marie Schuette, then explains how she reproduced it: gauze-weave areas picked up on a flat stick, separated by three rows of plain weave. She gives advice on yarns, sett, design and outlining with running stitch, with illustrations of old and modern designs and the technique.