'In The Loop': Highlights of the Montse Stanley Knitting Collection
Special Collections Gallery, Hartley Library, Highfield Campus, University of Southampton
28 April-13 June & 14-25 July, 2008.
Curated by Barbara Burman and Linda Newington
Catalogue by Barbara Burman and Linda Newington; 36 pages, 8 small illustrations
Free catalogue; free entry; (photographic ID required to enter the library)
Supported by the Heritage Lottery Fund, the Pasold Research Fund, and the Knitting History Forum (formerly the Early Knitting History Group)

"We dedicate the exhibition to the memory of Montse Stanley"

91 exhibits in 5 cases covering 5 themes = ‘Spreading the Word’ (29 books); ‘Body and Home’ (26 knitted, tatted and crocheted items); ‘Knitting Together: Picture Postcards and Tools’ (34 postcards, 11 knitting needles and tools, some grouped); ‘Bags and Purses’ (22); ‘Shawls: A Celebration’ (2).

This exhibition was widely anticipated and broadcast for almost two years. The Gallery is small and understandably dark. The opening dates were brief and split into two sessions of fifteen days and eleven days duration. It was hard to find on the fourth floor of the Library, required photographic identification for entry, and difficult to get to by public transport. This would not concern staff and students of the university but was inconvenient to those outsiders who have waited so long, contributed so much, and set aside time and effort to visit it.

The exhibited items were diverse: the first case was called ‘Spreading the Word’, a number of books (mainly from Richard Rutt’s library also acquired by the university, plus two "Recent Acquisitions"), the third case called ‘Knitting Together’ was for postcards (Tom Stanley is a dealer), pins, sheaths and ephemera. The knitting highlights - ‘Body & Home’, ‘Bags and Purses’ and ‘Shawls: a Celebration’ - were sparsely spread out in three cases, and included tatting and crochet, presumably for comparative purposes. The beaded bags were charming, the toys cute, the tea and egg cosies nostalgic, the two woollen shawls interesting, and a very fine black cotton mantilla was shown above, but not draped on, a large plastic mantilla comb. There were six exhibits from the huge, distinctively catalogued 1997 exhibition held in Catalonia called "Mil anys de disseny en punt" which Montse Stanley co-curated shortly before her death. She put an enormous amount of work and thought into that exhibition, contributed a thirty-one page illustrated essay in two languages for the catalogue and chose to show her personal favourites from her own 800-strong collection of knitting. These returned from Spain in exhibition condition - I unpacked and checked each of the almost sixty objects for her in late December 1998, returning them to their packing cases awaiting transport to Southampton so why were so few on view this time?

To many of us knitting is a soothing, sometimes profitable, hobby - to Montse it was much more. A number of wall boards described her influence and lifetime’s dedication to knitting, but these were hard to read in the conservation conditions and not backed up by the exhibits many of which could have been collected by almost anyone with time, money and a discerning eye. The blown-up illustrations of yarns and stitches outside the gallery were a colourful addition apparently unconnected to the objects inside.

The factual labelling meant that catalogue descriptions were essential for anyone with little knowledge of the subject; even in an empty gallery it was difficult finding enough light to read by. The catalogue was free on site (I was able to take a copy to send our President), clearly written, elaborating the basic social history and cultural environment of some objects, explaining the development of early knitting books and patterns, the use of knitting sheaths (just four shown), the different spellings of doily, the importance of 1960s nylon stockings and the function of ‘misers’ purses (controversy continues over that said to have been found on Nelson’s body, giving enjoyable arguments to the Nelson cult). It is stated that "very few of the objects have a firm provenance" but dating so many exhibits from "mid to late 1900s" covers at least seventy years and Montse was meticulous in recording her notes when filing her 'Knitting Reference Library' - the name she always gave to her complete collection. This has now been split between paper and objects in different towns and the name is shared with several other library collections. Some of her unfulfilled ambitions can be found at KnittingHistory.co.uk. Consequently it is hard to judge to whom this small exhibition was directed - while Richard Rutt asserted that knitting is ‘structure’ not method, Montse’s interest was in technique above all so some information on construction and stitch identification would have benefited the students for whom it was presumably designed, and those who travelled to see it.

To the surprise of academics there has always been interest in this subject, regular knitting events were held in past years, such as Heinz Edgar Kiewe’s travelling exhibition in 1976, (like Montse he could see knitting everywhere); the V&A’s museum exhibition in 1985-86 which detailed the construction of each entry; "Knitting: A Common Art" toured England and Wales in 1986-87, the Craft Council sponsored numerous other contemporary shows and streams of books continue to appear. The annual knitting study days arranged by John Allen at the V&A, or occasionally by the Early Knitting History Group at the Courtauld, were sell-out events. How did Southampton University’s compare? Remembering Montse’s vivacity and her artistic flair I spent a long time alone in the gallery looking around with her in mind. How would she have seen it? It promised her knitting highlights and diversity but, despite the long list of people acknowledged for their help in staging the exhibition and the large sums of money donated by its sponsors, that unique flair was missing. It was dedicated to her - would she have been disappointed? I was.

The accompanying three day conference held in Winchester was expensive to attend. As I felt I would gain little from it and that further outlay was unjustified, I gave it a miss. Others will report.

Kirstie Buckland.
The Knitting History Forum
(formerly the Early Knitting History Group)

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