2009-10 Costume Textiles Needlework

CORAGINSBURG

English,dated1728

Attimesinthehistoryofdress,aprons,whichhavetraditionallyservedasautilitariancomponentof working-classclothing,wereadoptedasdecorativeaccessoriesinthefashionableattireofwealthy women.Duringtheeighteenthcentury,beautifullyembroideredapronsinbothsilksatinandtaffeta, aswellascottonexamplessuchthisrareandexceptionalDresdenworkapron,clearlydemonstrated theirpurelyornamentalrole.

Withitsgracefulpattern,thisapronwouldhavebeenvaluedforitsfinecraftsmanshipaswellasthe elegantimpressionitwouldpresentwhenworn.Curvilinearvinesspringfromthreemoundsatthe loweredge.Eachvinedisplaysflowers,includingstylizedtulips,daisiesandsunflowers,andfour fanciful,long-tailedbirdsfacinginoppositedirectionsacrosstheirevenlyspacedperches.Thevirtuosity ofthisDresdenworkderivesfromtheembroiderer’srepertoireofvarioustypesofdrawnwork—each birdandflowerisdelineatedbyadifferentfillingpattern.Alsoofnotehereistheembroiderer’srepeated markingofherinitials.Attheapron’stopedge,theletters“M”and“H”arestitchedinsideofflowers; belowinthesecondrowofbirds,theembroiderer’smonogram“MH”andthedateof1728appeartwice, onceinaHolliepointmedallion,showingtherangeofherneedleworkskills.

OthersurvivingexamplesofDresdenworkapronsfromearly-eighteenth-centuryEnglandpointtothe attentiongiventothesegarments.Oneexample(inthecollectionofColonialWilliamsburg,G1991-525, agiftofCoraGinsburg)depictsAdamandEve;another,dated1709andillustratedin TheMagazine Antiques inOctober1928,Vol.XIV,No.4(frontispiece),showsinelaboratedetailtheday-to-day workingsofanestate.Athirdknownapron,dated1713–14,hasmotifsverysimilartotheonehere, signifyingthatthedesignwaslikelytakenfromoneofthepopularpatternbooksoftheperiod.

33”Hx37”W

Provenance:Ex-collectionoftheMuseumofEarlySouthernDecorativeArts.

PANELOFBIZARRESILKSATIN

ChineseExportfortheEuropeanMarket,ca.1708–10

Europeansilkdesignsofthelate-seventeenthandearly-eighteenthcenturiesfrequentlycombined elementsoftheWesternvernacularwiththoseofexoticimportforgraphicimpactandfashionable novelty.“Bizarre”silks,infullflourishforabriefperiodfromabout1700–10,wereaptlynamedby moderntextilehistorians.Asagroup,thesedesignsareeccentricandimaginativeamalgamationsof Asian-inspiredmotifsandBaroqueornament.ThoughthoroughlyWesterninsensibility,Bizarre silksweresometimeswovenintheEasttosuitthedemandsofthelucrativeEuropeanexport market.Thisunusualcobalt-bluesilksatin—ofChinesemanufacturewithadistinctivelyWestern patternthatreferencesOrientalinfluences—hintsatthecomplexitiesofdesigninterchangebetween twogeographicalregionsthousandsofmilesapart.

ItisclearthataWesternprototypeexistedfortheChinesesatin,asthedesignrelatesintwo significantwaystoContinentalandEnglishsilksmadefromthe1670sthrough1710.Stripes decoratedwithfoliateflourisheswereacommonfeatureofEuropeantextilesthroughthelatter decadesoftheseventeenthcentury;inthisexample,thepatternisessentiallytwoverticalstripes formedfromasingle,ornately-composedunitwhichmergesseamlesslyinanend-on-endrepeat. Thismotif—acolumncapitalandbrokenarchwayattop;ascrolled,bulbousshaperesemblinga vaseatcenter;acurlingribbonandstreamer-likebracketwhichunfurlsintoanothercolumnatthe base,allembellishedwithleafyfrondsandflorals—alsosuggestsaspecifictemporaland geographicalcontext.Between1706and1708,JamesLeman(1688–1745),aweaverofHugenot descentwhoworkedinthesilkmanufacturingareaofSpitalfields,London,producedagroupof drawingsthatsignaledanewphaseinBizarresilkdesign.Indeparturefromthetrulyfantastical motifswhichdominatedsilksof1700–05,Leman’scompositionsfeaturedrecognizablearchitectural elementssuchasbalustrades,fencesandpergolasincombinationwithplantsandflowersof disproportionatesizes.ItmaybethatadrawingorsilkdesignedbyLemanservedasthemodelfor thisChineseversion.Thereis,however,nomistakingthisexampleforaWesterncreationasthere arerecognizablyAsiantouchesthroughout.Inparticular,thelargestflowersatthecolumn’sbaseare markedlyJapaneseinstyle;theclusterofscallopedtabswhichfansoutfromthearchwaybearsa strikingresemblancetoadornmentfoundonChinesecostumeandporcelain;andthecurlicue tendrilsandpendanttasselscomefromChinesedecorativevocabulary.Aspecificchoiceofmaterial finallyidentifiesChinaastheorigin:gilded-andsilvered-paper-wrappedsilkthreadsusedfor discreteareasofmetallicbrocading.ThistypeofthreadisaChineseinventionanddiffersfrom Europeantraditionswhichwrappliablemetalstripsaroundasilkorlinencore.Themutedpalette ofsoftpeach,yellow,paleblue,andivorywasappropriatelyelegantandon-parwiththemost stylishEuropeansilksoftheperiod.

Acomparableemerald-greenEnglishdamaskofnearlyidenticaldesignisintheCoraGinsburg inventory.ItisalsofoundintheAbegg-Stiftung(Inv.#4490)andillustratedinthemuseum’s publication 18th CenturySilks:TheIndustriesofEnglandandNorthernEurope (2000),p.213,fig.119.This damask,similarlypatternedbutnotquiteasfinelydrawnastheChineseexample,confirmsthat bothattempttocopyamoredetailedthoughasofyetunidentifiedEuropeanprototype.

44”Hx21.75”W

UNFINISHEDEMBROIDEREDPICTUREOFREBECCAANDELIEZERATTHEWELL English,thirdquarterofthe17thc.

Anextraordinaryyetincompleteaccomplishment,thisembroideredsatinpicturehighlightspracticeswithin awell-establishedseventeenth-centuryindustry—thatofprofessionalembroidererswhodecoratedavariety ofobjectsforeliteclientele.Workedinpolychromesilkandanassortmentofmetallicelements,this unfinishedembroiderydisplaysnotonlyrefineddrawingandexquisitetechnicalmanipulationofmaterials, butalsoaspecialfeature—theelaboratecartouche—allofwhichundisputedlyclassifythispieceasa commercialproduct.

Theprintsourceforthecentralsceneisanengravedplatefromthe ThesaurusSacrarumHistoriarumVeteris Testamenti (DictionaryofSacredStoriesfromtheOldTestament),publishedinAntwerpin1585byGerardde Jode.Here,Eliezer,servantofAbraham,isdepictedatthewellwithRebecca—herhospitalityinthisencounter convincesEliezerthatshewouldbeanidealbrideforhismaster’sson,Isaac.Eliezerkneelsanddrinksfrom thejarofferedtohimbyRebecca;atleftisthewell,embellishedwithmicaandelongatedsilkpurlripplesfor anaquaticeffect,andatright,Eliezer’sthirstycamelsawaitrefreshment.Asintheengraving,bothfiguresare dressedinclassicallyinspiredgarb—however,thisinterpretationwasupdatedwithcontemporizingdetails likefashionablecoiffuresandsquare-toedshoes.Therichnessandtextureoftheirattireisduetotheextensive useofcouching.Rebecca’sgowniscraftedfromtwistedsilkthreadsmingledwithsilverstripcouchedwith silverwire;Eliezer’stabbedtunicmakesjudicioususeofyellowandbluesilktocouchgold-andsilverwrappedthreads,respectively,eachcolorchosentoenhancethemetallictones.Hiscloak—approximatinga brocadedsilk—masterfullycombinesabackdropofcouchedsilvermetallic-wrappedthreadswithoverembroideredtentstitchfloralmotifs.Sensitivedetailssuchasthefigures’subtleexpressionsandthechoiceof Ceylonstitch,whichresemblesknit,fortheirstockingsenliventhistenderscene.

Theunfinishedstateofthispictureallowsarareglimpseintotheprogressoftheembroidery.Focalpoints— thebiblicalvignetteandthesymbolicstag,unicorn,leopard,andlion—wereattendedtofirstusingFrench knots,brick,long-and-shortsatin,couching,split,andspecklingstitches.Smallinsectmotifs,whichbring whimsytoanotherwiseformalarrangement,werelikelyworkedasanintermediarystepbeforethe decorativefloralvasesandsprigs,whichweresavedforlastandmayhavebeenreservedforslipappliqués. Complexityofstitchesandrangeofmaterialsalsodictatedwhichareasrequiredseriousconcentration thereforethekeyareasofthecompositionwereallottedthemostlavishresourcesandtime.Preciselydrawn inblackinkagainstasmoothivorysatinground,theunworkedmotifsrevealtheassuredcontrolofa practicedhand.Applyingliquidpigmenttoanabsorbentsurfacerequiredexpertise;forthisreason,kitsof ready-drawnfabricpanelswereavailableforpurchaseatprofessionalestablishments.Ifthefoundationwas acquiredthisway,anunfinishedpieceofdomesticembroiderywouldshowsimilarlyfine-lineddesigns— however,theoverallqualityofthispictureexemptsanypossibilitythatitwasmadeinanamateurcontext.

Adefiningcharacteristicofprofessionalworkwhichfurtherunderscoresthisconclusionistheabundantuse ofmetal.Thesereflectivematerials—delicatemetallic-wrappedsilkthread,broadandnarrowmetalcoil, hammeredwire,andpurl—playoffthelustrousground.Inparticular,theornateframingdeviceisalmost entirelycomposedofmetalliccomponents.Silk-wrappedpurlinshadesofgreenwascouchedfollowingthe leafycontours;thepetal-lobeswereformedfromsegmentsofblue,redandpeachsilkpurllaidinabasketweavepatternovergildedmetalstripsforextrabrilliance.Thickcoilsofflatsilverstripdelineatethecurling motifsandtheframeispunctuatedwithgold-tonebossesofplainandspiralingcoilcalledcheckedpurl. Entwinedwithfoliateflourishes,theprominentcartoucherelatestoagroupofembroideredpictureswith strikinglysimilarembellishedovalframes.Oneofthesecompositions,foundinBlairCastle,Perthshire,is signedinthelowermargin:Jo.Nelham,SugerLofe,Grayfriars,NewgateMarket.JohnNelham(d.1694),a respectedprofessionalembroidererandmemberoftheBroderer’sCompany,hadashopatthislocation between1654and1666—whetherornothewasresponsibleforcraftingtheentireoutputofoval-frame picturescannotbedetermined,butitisreasonabletosuggestthatthisparticularthemeoriginatedinhis professionalsphere.

Unfinishedpiecesarefoundinimportantcollections.Anincompletemid-seventeenthcenturyembroidered satinpicturewaspurchasedbySirWilliamBurrellin1921(BurrellCollection29/311);asheetofinkedand partiallyworkedcabinetpanels,ca.1660,isamongtherareembroideredobjectsintheMetropolitanMuseum ofArt(1998.541).

19.75”Hx24.25”W

BLACKWORKEMBROIDEREDFOREHEADCLOTH English,ca.1600

Thisforeheadclothofdelicateblackworkembroiderywouldhavebeenwornbyawomanaspartof herat-homeattire,withamatchingcoifofthesameintricatefloralpattern.Bythe1580s,thesecloths areknowntohavebeenwornaroundthebrowanddrapedoverthecoif.Theycontinuedas accessoriesoffemaledressuntilthemid-seventeenthcentury.

FlowersencircledbyscrollingvinesappearfrequentlyonEnglishembroideriesoftheperiodandwere usedtodecoratemanytypesofgarmentsbothinmonochromeandpolychromeembroidery.Worked infineblacksilkthreadsonalinenground,thecomplexpatternpositsindividualflowersandleaves withinirregularlyplacedcurlingtendrilsentwinedinameanderingarrangement.Arolledhemalong thesidesoftheforeheadclothisdecoratedwithparallellinesandvoidedcircles.Runningstitches workedinsidethepetalsandleavescreateahatchedeffect—atechniqueinblackworkoftenlinkedto mimickingtheprintedengravingsfromwhichnumerousneedleworkpatternsderived.Themore delicatescrollsfoundonblackworkofthesixteenthcenturyaresomewhatenlargedinscaleonthis example,prefiguringthetransitiontobold,curvilinearfloralworkwhichdevelopsintheseventeenth century.

BlackworkembroideryisassociatedhistoricallyinEnglandwithCatherineofAragon,theSpanish princesswhocametoEnglandandmarriedHenryVIIIin1509.Thisassociationaccountsforthe handwrittennotepasseddownwiththisforeheadcloth:“Worksupposedtohavebeenintroducedby CatherineofAragon.”WhileblackworkwasoftenreferredtoasSpanishwork,Englishexamples appearininventoriesearlierthanCatherine’sarrivalinthecountry.Butthepared-downstyleof monochromaticembroideryfavoredbyCatherineofAragonhaditsinfluenceonEnglishwomen’s tasteascanbeseenincontemporaryportraits,particularlythosebyHansHolbein(1497–1543),aswell asondomestictextilessuchascushionsandcoverlets.

8”Hx16.5”W

Provenance:BraddyllFamilyCollection,ConisheadPriory,Cumbria.

ROLLER-PRINTEDCOTTON, LESQUATREÉLÉMENTS,BYMARIE-BONAVENTURE

LEBERTFORHARTMANNETFILSASSOCIÉSDESOEHNÉEETCIE

French(Munster),ca.1810-18

Thevogueforinteriorsandfurnishings àl’antique thatemergedinlate-eighteenth-centuryFrancereceived renewedemphasisduringtheFirstEmpireunderNapoleonI.Awiderangeofsubjectsdrawnfromclassical mythologyappearedinvariousdecorativeartsmediaincludingprintedtextiles.Cottonsfeaturinggods, goddesses,heroes,heroines,andallegoricalfigurescomplementedGreek-andRoman-inspiredwalland windowtreatments,bedsandseatingfurniture.Atthesametime,thegrowinguseofengraved-rollerprinting expandedtheavailabilityandreducedthecostsofthesefabrics,soughtafterbyaburgeoningmiddle-and working-classconsumermarketavidforthemostup-to-datetrendsindécor.

Intheirdesiretoofferattractivepatternsandkeepupwithchangingtastes,manufacturersoftencommissioned designsfromwell-knownartists.Thisstrikingroller-printedcottonwithitsgraphicblack-and-yellowpalette wasdesignedbyMarie-BonaventureLebert(1759–1836),whotrainedinthecircleoftheinfluentialneoclassical painterJosephVien(1716–1809).LebertbegandesigningforprintedtextileswhenhemovedtoAlsace, workingforPierreDollfusbetween1784and1788;by1796,hewastheheaddesignerforSoehnéel’AînéetCie (aprecursorofHartmannetFils)inMunster.Intheearlydecadesofthenineteenthcentury,Alsacebecamean increasinglyimportantcenteroftheFrenchprintedcottonindustry,anditsleadingmanufacturers,including Hartmann,madesignificantcontributionstoinnovationsindyeingandprintingtechniques.

TheFourElementswasapopularthemeduringthisperiod.Inthecreationofhisdesign,Lebertmayhave beeninspiredbyamuchadmiredpoem,“TheSeasons”byJamesThomson(1700–48),publishedin1730and subsequentlytranslatedintoFrench,includingatranslationbythenaturalistJean-Philippe-FrançoisDeleuze (1753-1835)of1806.Thomsonusedthefourseasonsandrelateduniversalprinciplesincludingtheelements andzodiacalsignstosymbolizenatural,rhythmicpatterns,notablyman’slifecycle.Here,theFourElements, personifiedbyclassicaldeitiesinswirlingdraperies,appearinalternating,slightlyoffsetvignettes surroundedbyclouds,oneithersideofawidecentralband.Thiscolumnisfilledwithrepeatingmotifssuch astrophies,afieryurnflankedbysalamanders,aneagle,entwinedsnakes,abasketwithpairednetsand pendantfish,andalobster.Ontheleft,holdingawheatsheaf,Saturn/Earthsitsbetweenalargecornucopia andaglobequarteredwithahorse,anelephant,alion,andabirdrepresentingtheFourContinents(Europe, Asia,AfricaandAmerica,respectively);athisfeetisasplitpomegranateandbehindhimarefruit-ladentrees. ApairofdolphinsandaputtoguideAmphitrite/Waterinascallopedshellthroughthewaves,whileanother puttooffersheracoralbranch.Ontheright,Juno/Airmakesherwayoverthecloudsinapeacock-drawn chariot,alsoaccompaniedbytwoputti,oneofwhompresentsherwithabutterflyandanotherwhotendsto apairoflong-tailedbirds.Athisforge,Vulcan/Fireenergeticallyhammersashieldtoaddtothealready completedarmorathisfeetand,inthebackground,abathoversabovetwoCyclopestoilingatanotherforge. Anarrowbandalongtherightsideofthepanelfeaturesthesignsofthezodiac.Thehatchedtriangle-anddot-patternedgroundevokesthegeometricsimplicityassociatedwiththeclassicaldesignrepertoireand disguisesthecharacteristicshortnessofengraved-rollerrepeats.

Anumberofsurvivingpen-and-ink-and-washdrawingsinthecollectionoftheCooper-HewittMuseum (1898-21-10a-c,1898-21-11,1898-21-12a,1898-21-12b,1898-21-13)illustratetheprogressionofLebert’s conceptionfor LesQuatreÉléments.Althoughallincludetheabovedeities,theartisteventuallydispensed withtheelaborateframeworkenclosingtheminhisoriginalschemeaswellassomeofthedetails;inthefinal version—inwhichtheelementsareidentifiedbytheirGreekandRomannames—heenlargedtheirscaleand madechangestotheirposes,thesurroundingmotifsandthedecorativebandstoemphasizetheirimpact.

ProbablyproducedinthelateyearsoftheFirstEmpireorearlyyearsoftheBourbonRestoration, LesQuatre Éléments atteststothedominanceoftheimperialaestheticthatpersistedunderLouisXVIII.Panelsofthis cottonarefoundinthecollectionsoftheMuséedel’ImpressionsurÉtoffes(858.127.1),theAllentownArt Museum(1979.3.1),theArtInstituteofChicago(1993.329),andthePhiladelphiaMuseumofArt(1929-164-258).

60”Hx33.5”W

TAPESTRY-BOUNDDEVOTIONALBOOKWITHPLAITEDBOOKMARK English,mid-17thcentury

SPEED,John. TheGenealogiesRecordedintheSacredScriptvres,AccordingToEveryFamilyandTribe.Withtheline ofourSauiourIesvsChrist,obseruedfromAdamtotheBlessedVirginMary.[London?:F.Kingston,1632].

TheHolyBible,containingtheOldeTestamentandtheNew NewlyTranslatedOutoftheOriginallTongues:andwith theformertranslationsdiligentlycomparedandrevised:ByhisMajestiesspeciallcommandment.London:Robert Barker,1617.

STERNHOLD,Thomas. TheWholeBookofPsalmes,CollectedintoEnglishMeeterbyThomasSternhold,Iohn Hopkins,andothers,conferredwiththeHebrew… London:PrintedfortheCompanyofStationers,1617.

Privatedevotionalbooksmadeinseventeenth-centuryEnglandwereoftendecoratedwithlavishcovers befittingtheircontents.Thoughembossedleatherwasahandsomechoiceforbookbindings,finetextiles wereusedsincetheeleventhcentury;duringtheTudorandStuartreigns,biblesandprayerbooksofthewellto-dowereoftenboundinvelvetorsilkwithsumptuousembroidery.Ornatetextilebindingsenclosingthe WordofGodemphasizedtheimportanceofthetextwithinandtheirproductionandacquisitioncouldbe seenasactsofpietyinthemselves.Thiscollectionofreligiousworks—asacredgenealogy,theHolyBibleand abookofPsalms—isresplendentintapestry-wovencovers.AnextensivelistoftheCaygillfamily,handwrittenintheendpapers,bringstheprovenanceofthisbooktolight,asdoestheplaitedbookmark—signed anddatedbyAnneHopkins,JohnCaygillsenior’sfirstwife—whichhasdescendedwithit.

Wovenasasinglepieceusingsilver-wrappedandsilkthreadsinaselectivepalette,thetapestrybinding reflectsthenatureofthesubjectmatterwithin.Aclimbingfloralvineonthespineseparatesfrontandback panels,eachshowingAdamandEveatthemomentwhenshesuccumbedtotheserpentandatefromtheTree ofKnowledge(Genesis3:6).Eve,withstriatedflowinghair,graspsthefatefulappleinonehandandgestures toAdam,whoraiseshishandinreturn;eachholdsalargefigleaftoconcealtheirindecency.Thetapestry wasproducedinoneofmanyEnglishworkshops;itsrefinedqualitysuggeststhatitwaspossiblymadeat theSheldonmanufactory,inBarcheston,Warwickshire.Becausetextilecoverswerenotstructurallyintegral, theyweremadeseparatelyforpurchaseandthenfittedoverbookswhichhadpreviouslybeensewnand lacedintoboards.Here,richfinishingdetails,includingsilvertapetrim,matchtheeleganceofthebinding. Pairsofsalmon-pinksilkribbons,nowmissing,werethreadedthroughholesalongtheforeedges;tieswere commononluxurybooksoftheperiod1530–1640andpersistedonreligiousbooksintotheeighteenth century.Gildingandgauffering—apunchedpatterntechniquewhichfelloutoffashioninthe1650sandwas usuallycoupledwithembroideredbindings—impartanopulentveneertothetrimmedpageedges.A comparabletapestry-boundearly-seventeenth-centurybibleisfoundintheVictoriaandAlbertMuseum (T.45-1954).

Theexceptionallyrarebookmark,comprisingmulticoloredplaitsworkedonaloopattachedtoan embroideredroll,isaninfrequentsurvivalofliteraryparaphernalia.MadebyAnneHopkinsherselfforthe occasiononwhichshecametoownthisbook,theplaitedstrandsareinscribedwithpersonallysignificant biblicalquotationsfromColossians(“Wives,submityourselvesuntoyourownhusbands,asitisfitinthe Lord,”3:18,and“Husbands,loveyourwivesandbenotbitteragainstthem,”3:19)aswellascoupletsfrom GeorgeWithers’1634publication ACollectionofEmblemes (“Theyaftersufferingshallbecrowned/Inwhom aconstantfaithisfound”;“Evenasthesmokedothpassaway/Soshallallworldlypompedecay”;“Take wingmysoulandmountuphigher/ForEarthfulfilsnotmydesire”).Theredstrandatcenterseparatesthe twosourcesandismarked:AnneHopkins,HerBook,August[_]16[_]6.Asimilarbookmarkca.1620–50is illustratedin DomesticNeedlework:ItsOriginsandCustomsThroughouttheCenturies,GeorgeSavilleSeligman andTalbotHughes(1926),plateXVI,D.

Provenance:Caygillfamily,Halifax,WestYorkshire.

Book:6.7”Hx4.75”Wx1.75”D

Bookmark:9.5”Hx2.25”W

TAPESTRY-WOVENREVERSIBLE“SUMMER-AND-WINTER”WOOLTURNOVERSHAWL Russian,ca.1830s

Duringthefirsthalfofthenineteenthcentury,afashionablewoman’swardrobewasincompletewithoutan expensiveshawl.AlthoughIndianshawlsremainedhighlyprizedanddesirablethroughouttheperiod,the demandforthesestatus-symbolaccessoriesspurredimitationsinbothEuropeandRussia.Intheearly 1800s—partlyinresponsetothevastamountsofmoneyspentbywealthyRussiansonimportedshawls—a numberoflandownersestablishedworkshopsfordomesticproduction.Inadditiontothosethatemulated Indiandesignswithflat,stylizedflowersand botehs,aparticulargroupofRussianshawlsdevelopeda distinctive,naturalisticaestheticcharacterizedbysophisticatedshadingofoftenrecognizablefloralandfoliate motifs.Knownas“summer-and-wintershawls”becausetheywerewornthroughouttheyear,bothindoors andout,theseluxurycommoditiesweretheprerogativeoftheuppermostechelonsofRussiansociety. FeaturedattradefairssuchasthoseinSt.Petersburg,theygarneredextensivepraiseandnumerousawards.

AraresurvivingexampleofRussianserf-wovenmanufacture,thisexceptionallybeautifulshawlexhibits virtuosityofweavingandrepresentssomeofthemostsumptuoustextileseverproduced.Althoughthisshawl isnotattributedtoaspecificworkshop,thesuperbfinenessoftheweaving,theelegantborderdesign,thetype andtreatmentofthemotifs,andtheirclear-coloredpaletteareallconsistentwithextantpiecesfromtheleading manufactoriesofNadezhdaAppolonovnaMerlinaandDimitriKolokoltsov,locatedinCentralRussia.

Thereadyavailabilityofserflabormadepossibleanundertakingthatwasinordinatelytimeconsuming. Expensiverawmaterials,notablythesoftfleeceofCentralAsianKirghizgoatsandsaigasfromtheWest Siberiansteppes,aswellasnaturaldyestuffsandpigmentswereobtainedatfairsinNizhniyNovgorod. Virtuallyalltheworkwasdoneonthefeudalestates:cardingandspinningthegossameryarns,dyeingthem inarangeofshadesfromjeweltonestosubtlepastelsandthelengthy,arduousprocessofweaving.Although bothmenandwomenwereinvolvedinshawlproduction,itwasyoungwomen,generallybetweentheages ofseventeenandtwenty-seven,whocreatedthesetour-de-forcetextilesusingsmallwoodenbobbinsrather thanshuttles,eachcarryingadifferentcoloredthread.Executedinreversibleplainweavedovetailtapestry, probablyonhorizontalorlow-warplooms,theflawlesslyidenticaldouble-sidedbordersrequiredweavingthe patternweftsbackintothefabricaswellasdarninginthewarpends.Whilethesolid-coloredgroundwas woveninonepiece,usuallyin2/2twill(asinthispiece),theborderswerewoveninsectionsandlateralmost invisiblyjoinedandstitchedtothefield.Thisdouble-facedtechniqueprogressedatthepainstakinglyslow paceofaquarterofaninchaday;thus,alargeshawlwithcomplexborderpatternsemployingthirtytosixty colorscouldtakeuptotwoyearstocomplete.Notsurprisingly,theshawlswereexorbitantlypriced,costing between1,000to4,000rublesandasmuchas10,000rubles—equivalenttothepurchasesumofasubstantial property.

Inthisexample,therobin’seggbluegroundperfectlysetsofftheexquisitelygradated,multi-huedflowers, leavesandtwiningstemsthatrangefromdelicaterosyandpalepinks,mauve,blue,apricot,yellow,green, andcreamtovividred,salmonandchestnut;deepeggplantpurple,brown,green,blue,andblackprovide contrastanddepth.Typicaloftheseshawlsisthesequenceofinnerandouterbordersseparatedbynarrow “beaded”bands.Alongtheedges,weftthreadsextendfromthediminutivehalfsprigsformingafinefringe. Thedesignation“turnover”referstoasquareshawlthatwasfoldedintoatriangleinwhichthetwosides withwidebordersandcurvedcornerpiecewouldhavebeenarrangedtoconcealallbutthenarrowborders oftheadjacentsides,lyingunderneath;thisgavetheimpressionthatthewideborderscontinuedonallfour sides.Whenworn,theluxuriantpatternwouldhavebeendisplayedbecominglyoverthefulluppersleeves androundedskirtsofthe1830s.

Changesinthefashionablefemalesilhouetteaswellaseconomicandsocialfactorsresultedinthedeclineof “summer-and-winter”shawlproduction.Thereislittleinformationaboutthedesignersandnoneatallabout theweavers;however,theshawlsthemselves—eachonewithitsuniquepattern—standasimpressive testamentstotheartistryandsuperioraccomplishmentsoftheiranonymouscreators.

Onlyninecomplete,reversibletapestry-wovenshawlsandstolesarepreservedinNorthAmerican collectionsincludingtheMetropolitanMuseumofArt(1971.136.60,46.180,1984.86.1,1972.175,and65.91.1); theArtInstituteofChicago(1928.796and1928.797);theGlenbowMuseum,Calgary,Alberta(C-6193);and thePhiladelphiaMuseumofArt(1953-61-1).ExamplesarealsofoundintheStateHistoryMuseum,Moscow andtheHermitage,St.Petersburg. 54”Hx54”W

EMBROIDEREDBEDCOVER

English,ca.1720s

Muchofwhatisnowconsideredquintessentiallyearly-eighteenth-centuryEnglishstylewasinspiredbytheFar East.GlamourandmysteryenvelopedimportsfromtheOrient;merchantsbroughtgoodsfromChina,India andotherportsalongtheirtraderoutes,whichhadtheeffectofmergingdistinctcategoriesofAsianexportsinto thoseofasingle,farawayland.MughalandChineseluxurywares—carvedivoryandjewels,lacquer,porcelain, andtextiles—wereconsistentlydecoratedwithabstractorrealisticflowers,foliageandscrollingvines.Bythe lateseventeenthcentury,theseexoticplantformsweresubsumedintoEnglishdesignvocabularyandbecame familiarmotifswithEasternovertones,whichisabundantlyevidentinthissuperbcoverlet.

AsignificantnumberofQueenAnneperiodembroideredbedcoverssurviveinexcellentconditionandwith prominentsimilarities.Asagroup,thesecoverletshaveincommonthefollowingcharacteristics:theyshare adistinctive,symmetricalformatofcentralmedallion,cornerquarteringsandborderededges;whether polychromaticormonochromatic,theirsurfacesarequiltedwithyellowsilkinelaboratepatterns;andthey exhibitsuchfine,uniformembroiderythattheywereundoubtedlyproducedincommercialworkshops.Most coverletsofthistypeforgothemultiplelayerswhichdefineatruequilt.Inthisexample,however,threelayers offabric—twooflinen,andaninterliningofwovenwool—areboundtogetherinarepeatingarrangementof diminutiveflowersenclosedinconcentriccircles,linkedtogetherbyleafylobes.Overall,thecompositionand paletteareindebtedto“Bengallaquilts”—IndianfloororbedspreadsimportedtoEuropeintheseventeenth centurywhichwereworkedinstraw-colored tussar silk.Here,theembroiderywascompletedinasingle, luminousshadeofblondesilk;thoughsubtleincoloration,themotifsexhibitsophisticatedgradationsowing toexpertapplicationoftechniqueandthelustrouspropertiesofthethread.Theradianceoflong-and-short satinstitch,especiallywhenworkedoverareasofappliedcordforadimensional,paddedeffect,emphasizes theundulatingcontoursofthedesign.Wavy-edgedandstuddedwithFrenchknots,thecornerpiecesand medallionarecrownedwithimbricatedpetalmoundsandembellishedwithabstractfloraldesignsagainsta latticebackdrop.Garlandsoffloweringtendrils—formedfromhighly-twisted,couchedthreadsforaunique texturalcontrast—integratethehorned,spiked-leafmounds,flamingwheel-spokemotifs,andvarious vegetalornamentswhichfillthemainfieldinacombinationofbaroqueandchinoiseriesensibilities.

Theprocessofembroideryremainsevidentinthismeticulouslyworkedbedcover:quiltinglinesandmain motifsweredrawnusingtwoseparateinks,andinaspecificorder.First,thequiltpatternwascreatedwith redink(mostlikelyvermilion,acommonpigment)andthenembroidered—thecolorisvisiblebeneaththe backstitchedlines,enrichingtheyellowtonesmuchinthewayredboleenhancesgilding.Finally,the remainingdesignwasdrawninblackinkonthepre-quiltedfabricandstitched.Aremarkablysimilar monochromecoverletintheWinterthurMuseumcollection(1968.48a),whichhastheillustriousEnglish provenanceofAshburnhamPlace,wascreatedwiththisverysamemethod.

MAN’SSILKSATINDAMASKBANYAN English,ca.1760;theSpitalfieldssilk,ca.1742–3

Intheeighteenthcentury,affluentgentlemenoftenmaintainedanelegantappearanceevenwithin theprivacyoftheirhomes.Inadditiontoloose,T-shapedgarmentsbasedonFarEasternmodels, semi-fittedgowns,derivedfromIndianformsandknownasbanyans,werealsopopularfor undress.Bothstylesprovidedawelcomedegreeofcomfortandwarmthaswellastheopportunity todisplayone’selitestatusthroughtheuseoffashionablesilks,especiallywhenmeetinginformally withfriendsortradespeople.In“TheLevée”fromWilliamHogarth’sseries“ARake’sProgress” (1733),theartistsatirizesthefashionablemorningritualofthenewlyrichyoungheir:dressedina banyanwithfroggingsandaturban-likecap,TomRakewellisattendedbyanassortmentofvisitors includinghisaffectedFrenchdancing-master,hismusicteacher,ajockey,apoet,atailor,anda gardener.

High-enddressfabricssuchasthatseenherewereproducedinSpitalfields,thecenteroftheEnglish silk-weavingindustry.Althoughlarge-scaledamaskswereinvoguefromthemid-1730stothemid1740s,theimpressive47-inchrepeatofthisexampleisparticularlylong.Foliategarlandsconnecting giantstylizedflowersandcurvingleaveswithlobededgesandfillingpatternsonthick,sinuous stemsformacontinuous,exotic-inflecteddesign.Whilenotperfectlymatched—whichwouldhave beenaninjudicioususeofanexpensivesilk—similarmotifsarebalancedonthefrontandback skirts,upperbackandsleeves.Thecutandshapeofthebanyanwithitslowstandingcollar, moderatelylargecuffsandsidepleats,andsideseamsplacedtowardsthebacksuggestadateof about1760.Therearenosignsofalterationsfromanoldergarmentand,althoughitisunusualto findapiecemadeupfromamuchearliersilk,damaskswereperennialfavoritesthroughoutmost ofthecenturyandthecostofthesetextilesensuredtheiruseeveniftheywerenolongerinthe heightoffashion.Theelaborate,matchingpassementeriefroggingsareessentiallyornamental;a seriesofgreensilkcordloopsontheinsideleftfrontfastenedtheclosureontherightside.Inmany eighteenth-centuryportraitsdepictingmeninundressgowns,theyareoftenleftopen,displayinga richwaistcoatunderneath.Thisbanyanislinedthroughoutthebodyingreenribbedsilk,whilethe sleevesarelinedinbothsilkandnaturallinen.Therearedeeplinenpocketsatthesideseamswith shallowscallopedbandsanddecorativebuttons;slitsintheseamsbehindthemallowforaccessto thebreeches’pockets.

Initsconstruction,froggingclosureanduseofanearliersilk,thisbanyanissimilartoonereputedly wornbyLordSheffield(1735–1821)inthecollectionoftheBuckinghamshireCountyMuseum, Aylesbury.Inthatexample,althoughthebrowndamaskwithlarge-scalefoliagedatestoabout1738, thegarmentwasmadeupbetween1765and1780.Theoverblownpatternofthisgreenbanyanis alsosimilartoadamaskdesignonpaperbyAnnaMariaGarthwaitedated1743inthecollectionof theVictoriaandAlbertMuseum(T.391-1971),illustratedinNatalieRothstein’s SilkDesignsofthe EighteenthCentury (1990),p.46.

SALESMAN’SSAMPLEOFBLOCK-PRINTEDFOULARDDESIGNS French(probablyRouen),mid-19thc.

EasterntextilescaptivatedEuropeanmerchantsandconsumersalikesincetheirtradebeganona significantscaleinthesixteenthcentury.TheindelibilityofIndianchintzwasatechnicalfeatthat hadnotyetbeenmasteredinEurope,thustheimportedfabricscommandedhighpricesand inevitablypromptedimitations.Recognitionofthecommercialpossibilitiesforcomparable,yet locallyproduced,goodspromptedseventeenth-centuryFrenchentrepreneurstoestablishthefirst workshopinMarseilleswhichattemptedtoreproduceIndianfabrics.Theseearly indiennes were crude,butasFrenchtextilemanufacturersmadestridesinprintinganddyeingtowardstheendof theeighteenthcentury,competitionwithimportsalsoincreased.Bythenineteenthcentury,as demonstratedbythissalesman’scompendiumoffoularddesigns,amarketfordurable,economical printedcottonshadbeenfirmlyestablishedasanalternativetoforeigngoods.

Rouen,animportantindustrialcityandtrade entrepôt ontheSeine,hadbeeninvolvedintextile printingsinceitsintroductiontherein1763.Asaresultofadvancesintextiletechnologyinthe Napoleonicera,thefactoriesofRouenwereabletocapitalizeontheburgeoningmarketforless expensive,mass-producedprintedcottons.Bythe1850s,Rouenwasparticularlyknownforpictorial orfloralfoulards,thoughgeometricmotifssuchasthoseseenherewerealsopopular.Cutintotwo piecesfromonelengthandnowrejoined,thissamplepanelwithfifty-twoneckerchiefdesigns wouldhavebeenusedbyafactoryrepresentativeforseveralpurposes.Acontinuouspanelmust havebeenausefulmerchandizingtoolbecausemanypatternscouldbeshowntoaclientatasingle glance;or,becauseofthecompactformat,itcouldhavebeensenttodistantclientstoaidinplacing orders.Muchinthewaythatastitchedsamplerservedasapatternreferenceforanembroiderer, exampleslikethismighthavebeenprintedforcompanyarchives.Individualnumbersforeach uniquedesignmadeorderingorreprintingmultiplefoulardsaneasyundertaking.Inspiredby Indian bandhannas—tie-dyedscarvesprimarilymadeforexporttoEuropeandAmerica—these diminutivefoulardsamplesaverageeightinchessquareforthemajorityofdesigns.Theyexploita simpleformula:twocolorsagainstanunbleachedcottonbackgroundingraphiccombinations.Each foulardrequirednomorethantwocarvedwood-blocks,onefortherichredshade,anotherfordark brown.Bothcolorswereconvenientlyachievedwiththesamedyestuff—madderplant,an herbaceousmemberofthecoffeefamily—andtwodistinctmineralmordants,alumandiron.The blockswerepreparedwithmordantsolutionsandimpressedonthecotton’ssurface;thedesigns printedwithalumturnedredinthedyebath,whilethosedonewithironyieldedbrown. Overlappingareasresultedinanintermediaryshadeofrusset.Variationsonlinearpatterns—grids, squares,stripes,rectangles,crosses,checks,anddiamonds,somewithassorteddotsandcurvilinear motifs—recalledexotic bandhanna motifsandsimplifiedproductionwithoutsacrificingtheirappeal. Keepingmanufacturingtime,laborandmaterialinvestmentstoaminimummeantthatmarket pricescouldbesetlowenoughtoattractthetypeofcustomerwhosoughtgarmentswhichwere hard-wearingandcolor-fastafterfrequentwashing.

Asartifactsofindustry,textileproductionsamplersarerelativelyrare,partiallybecausetheywere oftencutupandplacedinswatchbooks.Acomparableblock-printedexample,ca.1760–70and trademarkedastheproductofacompanyinRouen,isillustratedinDilysE.Blum, TheFineArtof Textiles:TheCollectionsofthePhiladelphiaMuseumofArt (1997),p.38,no.55(1937-11-2).

117”Hx33.5”W

TIE-DYED LAHARIA TURBANCLOTH Indian(Rajasthan),ca.1860s

Rajasthan,India’swesternmoststate,isfrequentlydescribedasaplaceof contradiction.Thedesertregionismarkedbyperiodsofdroughtandfamine— andyetRajasthanisrenownedasoneofthemostlively,colorfulplacesinIndia, notforluxurianceinthelandscapebutfortheRajasthanis’vibrantattire. PrivilegedmenandwomenofRajputsocietyhavelongworngarmentsofsheer cottonwithexuberantdesigns;prizedaboveallwasthemultihuedand astonishinglycomplex laharia typeoftie-dyedcotton,asthisexceptional pagri—a man’sturbancloth—soimpressivelydemonstrates.

WhentheMughalfashionforportraituretookholdintheseventeenthcentury, Rajputnobilityhadtheirlikenessespaintedwearingflamboyantly-patterned laharia turbans.Bythelatterdecadesofthenineteenthcentury,theartof laharia dyeingreacheditspinnacle.FromtheSanskritforwave, laharia wrap-resistisa many-steppedprocessandrequiressophisticatedhandlingofbothdyeandcloth. Foldingthe pagri intofourormoreaccordionpleatswidth-wise,rollingit diagonallyandwrappingittightlywiththreadatpreciseintervalsbeforedyeing producesadazzlingarrayofsymmetricalzigzag(gandadar)formations.Untied portionsacceptdyewhereasboundsectionsresistit;becausethedyesmust permeatethecompressedlayers,onlythefinestcottonmullisused.Successive steepingsinnaturaldyebathsareresponsibleforaspectrumofbrilliantcolors— kasumal,fromsafflowerpetals,yieldsrichredsandpinks; haldi,turmericmixed withbuttermilk,resultsinyellow;andindigo,called nila or gali,producesshades ofbluethatcancombinewithyellowforgreenhues.Whenuntied,re-rolledfrom theoppositediagonalandboundagain,anadditionaleffect—mothara,fromthe Hindiwordforlentil—appears,characterizedbysmallchecks.Asproofthata laharia turbanwasgenuineandnotaprintedreplica, pagri weresoldwiththeirties stillinplace;anendwasunraveledtodisplaythepatterntoaclient.

Forfestiveorholyoccasions,themostpowerfulRajasthanis—Maharajasand membersofthewealthyMarwarimerchantclass—swathedtheirheadsin resplendent lahariapagri.Themostmarvelousturbanswerecharacterizedbytwo distinctivefeatures:aseriesofrepeatedlychangingdesignswhichmorph seamlesslyintothenext,andtheuseoffivecolorsknownas panchranga.Between itsgold-brocadedtips,thissplendid pagri hasastaggeringfifty-sevenpattern changes;thirteentypesofzigzagmotifsrepeatidenticallyorinvariations,and sevenpatternsareuniqueandappearonlyonceeach.Agraphic,argyle-like formationofcriss-crossed,overlappingyellow,blue,red,andwhitechevronsis themostunusualmotifseenhere.Thepaletteofbrickred,salmon,palegold, turquoise,sea-foamgreen,royalblue,blackest-blue,andwhiteexpandsthe panchranga rainbow.ThoughIndiantextileswerehistoricallyesteemedfortheir color-fastness,themostprestigious laharia turbansweremadewithfugitivedyes. Whenthecolorsgraduallyfaded—hastenedbydownpoursastheyweretypically wornduringmonsoonseason—the pagri wasgivenonceagaintoamaster-dyerto berefreshed.Thiswouldseemunnecessaryifpermanentdyeswereused; however,itonlyaddedtotheirfashionablecachetasthispracticewasreservedfor theelitewhocouldcommissionupdatesasnecessary.

Bytheturnofthetwentiethcentury,printedimitations,syntheticdyesand increasinginterestinWesternstyleledtothedeclineof laharia craft.Today,these magnificentturbansoccasionallyresurfaceattraditionalfestivals,butthebest nineteenth-century lahariapagri aretreasuredasfamilyheirloomsorfoundin museums.Asimilarlyintricateturban,nowinthreepieces(5735a,bandc),was acquiredbytheVictoriaandAlbertMuseumin1862.

53’Lx7”W

BLOCK-PRINTEDCOTTONMEZZARO Italian,ca.1832

MadeinGenoainthelateeighteenthandnineteenthcenturies, mezzari—largesquaresofblock-printedcotton—wereoften wornbyItalianwomenasshawlsorvoluminousheadcoverings,fastenedtothecrownwithsilverhairpinsorclasps. Avarietyofmediafromtheperiod,includinghand-colored engravings,oilpaintingsandceramicfigurines,confirmthat suchoversizedtextileswhichwouldseemmoreappropriately suitedtowallhangingswereinfactdrapedovertheheadand gatheredaroundthebody.Hintingatanexoticoriginforthis use,theworditselfislikelyderivedfromtheArabic mizar, meaning“tocover.”Thisluxuriant mezzaro combinesthecharm ofarustic,hillsidescenewiththeeleganceofaflourishingtree. Referredtoas mezzarodellerose (oftheroses)or,alternately, mezzarodell’alberodeifunghi (treeofmushrooms,so-called becauseofatinygroupingoftoadstoolswhichsproutdiscretely atthelowerleftcornerofthehill),therichlycoloreddesign featuresanaturalistictreebearingaprofusionofroseblossoms, itstrunkentwinedwithripebunchesofgrapes.Otherlush blooms—hydrangea,dahliasandchrysanthemums—grow fromtherockymound,populatedwithdiminutivecattleand goats.Theabundantlyfloweringtreeandsaturatedcolor paletteofreds,purples,green,ochreyellow,azureblue,golden browns,andblacktaketheirinspirationfromtheEast.TheTree ofLifemotif,derivedfromIndianandPersiansources,wasa popularthemeindecorativeEuropeantextiletraditions becauseofitsbeautyandsymbolicassociations.

Thougheighteenth-centuryGenoese mezzari werewithout doubtbasedonIndianpalampores,nineteenth-century exampleswerelessorientalintheiroverallaesthetics.The centralizedcompositionandenclosingbordersofthis mezzaro suggestanIndianprototype,yettherenderingoftheflowers, thepastoraldetails,thecraggyoutcroppingsupportedbya moundoftulipsandcabbageroses,andtheopulentgrape clustersseemdistinctlyItalian.Althoughvarioussourceshave attributedthisparticular mezzaro designtoManifatturaFratelli Speich,oneoftheleadingmezzaroproducers,itmayhavebeen printedbyLuigiTestoriatSampierdarena,anindustrialport cityintheregionofGenoa.Apreparatorydrawingforthe mezzarodellerose wasamongstseveralinafolderdonatedtothe CivicCollectionofGenoabyEdoardoTestori,anheirtothe business,in1927.Adrawingfortheborderseenhere—asingle repeatingmotifofatwisting,knobbytreewithaperching parrotandfloralfestoons—isdated1832andisinthePrints andDrawingscollectionofthePalazzoRosso,aGenovese historicpalacemuseum.

Examplesofthe mezzarodellerose anditsborderareillustrated in MargheritaBellezzaRosinaandMarziaCataldiGallo,Cotoni StampatieMezzaridalleIndieall’Europa (1993),p.46,fig.34and p.139,fig.126;itisalsoillustratedin IMezzaritraOrientee Occidente (1988),p.67,pl.VIIandp.96,figs.63and64.

104”Hx104”W

LACEANDAPPLIQUÉTUNIC ProbablyFrench,ca.1910–11

ThelacerevivalthatoccurredinEuropeattheturnofthetwentiethcenturyfoundexpressioninboth reproductionsofantiquemodelsanddesignsthatreflectedtheinfluenceofArtNouveau.FranceandAustria ledtherenewedinterestinlacemakingandartistsanddesignersinbothcountriesbroughtanentirely modernaesthetictothismedium.AnumberofleadingFrenchartists,includingFélixAubert(1866–1940), Ker-XavierRoussel(1867–1944),MauriceDufrène(1876–1955),andMathurinMéheut(1882–1958),created patternsforlace.AttheParisexpositionof1900,examplesoflaceaccessoriesandtrimmingsproducedatthe SchoolofArtsandCraftsinViennawerewidelyadmiredfortheirinnovationandsophisticationand awardeda grandprix.The DentelledeFrance,anationalsociety,wasfoundedin1905tofosterinterestinlace andtoencouragetheeducationofthoseintheindustry;aspartofitsmission,thesocietysponsored exhibitionsofbothantiqueandcontemporarylace.Inmanyoftheirissuesbetween1898and1910,the periodicals ArtDécoratif and ArtetDécoration featuredthenewstyleofbothAustrianandFrenchlaces.

Onthefrontofthisdelicatetunic,thecentrallyplacedbirdwithoutstretchedwingsandextendedtail surroundedbyfloweringorangebranchesreflectstheprofoundinterestinnatureandstylizationofforms thatcharacterizeArtNouveausensibility.Theplanarqualityofthecompositionwithitsbold,simplified motifsandthejuxtapositionofsolidandvoidareasareenhancedbyappliquéonlace:glossy,couchedlinen threadsdelineatetheoutlinesanddetailsofthesheer,mattelinenelementsagainstafinediamond-net ground.Thedesignismadetoshapewiththeluxuriantplantmotifsplacedsymmetricallyalongthesideand centerbackseams,creatingaflowing,rhythmicpatternaroundthebody.

Althoughitisnotpossibletoattributethistunictoaspecificdesigner,thedepictionofthebirdissimilarto drawingsbyMathurinMéheutthatappearinanarticletitled“LesOiseaux”bytheartistMauricePillardVerneuil(1869–1942)in ArtetDécoration in1907.Méheutprovidedmostoftheillustrationsincludingdetailed studiesofpeacocks,falcons,magpies,owls,ducks,pigeons,andsparrowsatrestandinflight.Additionally, hecontributedarepeatingpatternbasedonstylizedfalcons.Méheut’simagescomplementVerneuil’s assessmentthatartistsshouldhaveathoroughunderstandingofnaturalformsinordertosuccessfully translatethemintodecorativeornament.Hisbeliefthatsuchaninterpretationcombinesboththe simplificationofelementsaswellascapturingthemodels’essenceisevidentintherenderingofthetunic’s motifs.

IncontrasttotheexaggeratedS-curveofabout1900,thefemininesilhouetteof1910wasstraightandnarrow. Fashionjournalsconfirmthepopularityofhip-andthigh-lengthtunicsthataccentuatedthisslim,highwaistedlineaswellastheextensiveuseoflaceandopenworktechniquessuchas broderieanglaise.Thetunic waslikelywornoveracontrastingcoloredlightweightsilkorlinenunder-dresstomaximizetheeffectofits modernelegance.

BLACKSILKVELVETEVENINGCOATDESIGNEDBYCLAUDESAINT-CYR, TAPESTRYSLEEVESDESIGNEDBYJEANPICARTLEDOUX French,ca.1950

ThisstrikingcoatmergestheworldofFrenchcouturewiththelongstandingtraditionofFrench tapestryweaving.ClaudeSaint-Cyr(1910–2002),whoserealnamewasSimoneNaudet,wasa leadingFrenchmillinerofthemid-twentiethcentury.Sheopenedherownestablishmentin1937on therueduFaubourgSt.-Honoréandranasuccessfulbusinessfordecadesonward.Saint-Cyr’shats werewornbystylishwomenworldwideandfeaturedinleadingfashionmagazines.

TheuniqueinspirationforusingtapestriesinherdesignscamewhenartistGeorgesMartin(d.1961), Saint-Cyr’shusband,usedtapestrytorecoverchairsinhersalon.Saint-Cyrfoundtheresultso beautifulthatitledtoher“Tapisseries”lineofhatsin1950.Thisideawassoonexpandedwitha collectionofshortjacketsandcoats;weavingswhichSaint-Cyrincorporatedintoherworkwere collaborationswithFrance’sleadingtapestrydesigners,includingSlavik,JeanPicartleDoux (1902–82)andherhusband.Thedramaticsleevesofthissweepingeveningcoat,inshadesofgolden yellow,ochre,brown,andblack,weredesignedbyJeanPicartleDouxandwovenattheAubusson firmofAteliersPinton.

In1939,attherequestoftheFrenchMinistryofEducation,JeanLurçat(1892–1966)wascharged withrevitalizingtheAubussontapestryindustry.UnderLurçat’sdirection,ateliersbeganproducing tapestriesofmoderndesigns.In1945,Lurçat,PicartleDouxandMarcSaint-Saëns(1903-1979) founded L’AssociationdesPeintres-CartonniersdeTapisserie topromotethetapestryrevivaland presenttapestriesasoriginalworksofart.PicartleDoux’sstyle—boldyetalsoretainingelementsof simplicity—exemplifiesthemodernistapproachtotapestrydesignsofthemid-century.His tapestriesdisplaythesecharacteristicstogreateffectwithmotifssuchastheflame-likedesignfound onboth“PoèmeVégétal,”ahanginginthecollectionoftheSmithsonianInstitution(T.14237),and thetapestrysleevesoftheSaint-Cyrcoat.

Twentieth-centurydesignoffersmanyinnovativeexamplesofpartnershipsbetweenartistsand designersfromdifferentdisciplines.ClaudeSaint-Cyr’scoatpresentsahighlysuccessfultestament tothosecreativeendeavorswhichunitedmanytalents.

Provenance:FromthepersonalwardrobeofClaudeSaint-Cyr.

Gyration

Frequency,BarbaraBrown,1969

,BarbaraBrown,1971

Chiricahua,JohnPlumb,ca.1960–65

Rhythm,DVanGolden,ca.1962–65

Cascade,EvelynRedgrave,1972

Harlequin,EvelynRedgrave,ca.1972

Sunflower,HowardCarter,1962

PuffingBilly,DoreenDyall,ca.1962

Doll’sHouse,DoreenDyall,1962

Untitled,ZandraRhodes,ca.1965

TopBrass,ZandraRhodes,1964

CottageGarden,MaryWhite,ca.1958–60

Expansion,BarbaraBrown,1966

HEALFABRICSLTD.SCREEN-PRINTEDCOTTONS British,1962–72

ThetextileindustryinpostwarBritainenjoyedanenormouscommercialandcriticalsuccess,dueinlargepart tothecollaborationbetweentheindustryandavant-gardeartistsaswellasup-and-comingyoungdesigners. Followingtheenforcedinactivityofthewaryears,asurgeofcreativitycharacterizedBritishpatterndesign especiallyforprintedfabricsthatwerebothinfluentialandindemandinternationally.

Amongtheleadingproducersofcutting-edgetextileswasHealFabrics,foundedin1941underthename Heal’sWholesaleandExportasasubsidiaryofHeal&Son,thewell-knownnineteenth-centuryLondon furnitureandfurnishingsstore.Aconverterratherthanamanufacturer,Heal’sacquiredpatternsfrom freelancedesignerswhichwerethenprintedbycommission.Alreadyacknowledgedasaninnovatorinthe industryinthelate1940s,thecompany’sreputationwasfirmlysecuredattheFestivalofBritainin1951 whereitfeaturedLucienneDay’s Calyx,aradical,abstractorganicdesignthatmadeasignificantimpacton whatwasreferredtoasthe“Contemporary”styleinthe1950s.Bythe1960s,onethirdofHeal’sproduction wassoldoverseas,andin1964,inresponsetotheenthusiasticreceptionofitsfabricsinGermany,a subsidiary,HealTextil,wasestablishedinStuttgart.

Thegroupofscreen-printedcottonsillustratedhereispartofalargecollectionofHeal’stextilesand promotionalmaterialthatbelongedtoEvelynRedgrave,whobegandesigningforHeal’sin1969whilea studentatHornseyCollegeofArtandbecameoneofthefirm’sdirectorsin1974.Datingprimarilyfromthe early1960stothemid-1970s,thefabricsexemplifytheinventiveanddynamicpatternsthatcharacterized Heal’soutputduringtheperiodandtheaestheticallydiversedesignerssoughtoutbyTomWorthington,the company’svisionarymanagingdirectorfrom1948to1971.Ratherthanchoosingdesignsaroundaspecific themeorinaparticularstyle,Worthingtondrewonalarge—uptoeightydesignersinthe1960s—and impressiverosteroftalenttocreateconsistentlyunifiedannualcollectionsthatwerefrequentlyheraldedin publicationssuchas TheAmbasssador and Design.Eachyear,heviewedasmanyas11,000designs,eventually selectingaboutseventytoeighty;putintoproductioninMarch,thecollectionswerelaunchedinNovember. InJuly1965, Design creditedHeal’sfurnishingfabricswithhavinghada“revolutionaryaffectontextilesin themiddleofthecentury”andidentifiedWorthingtonas“themostbrilliantanddynamic impresario/converterinthebusiness,”whowasresponsiblefordiscoveringgiftedyoungdesigners.Manyof thosewhoseworkformsthiscollectionweretrainedatleadingartschoolssuchastheRoyalCollegeofArt andHornseyCollegeofArt,andlaterwentontoteachintheseandotherinstitutions.

ThedesignersrepresentedhereincludeRedgrave,BarbaraBrown,DoreenDyall,HowardCarter,D.Van Golden,MaryWhite,andZandraRhodes,severalofwhomwerecitedin Design ascontributingtoHeal’s prominenceinthefield.White’s CottageGarden (ca.1958–60)displaystheirregulararrangementofstylized naturalmotifstypicalof“Contemporary”fabrics.Worthington’sinterestintranslatingmodernartinto textilesisevidentinCarter’saward-winning Sunflower (1962),basedononeofhispaintingsandillustrating thepopularityformonumentalfloralsintheearly1960s;D.VanGolden’s Rhythm (ca.1962–65),promotedby Heal’satatradefairwithamodelwearingadressmadeofthefabricandstandinginfrontofthepainting; andJohnPlumb’s Chiricahua (ca.1960–65),alsodevelopedfromapainting.TheinfluenceofPopandOpArt isconveyedinDoreenDyall’splayful Doll’sHouse (1962)and PuffingBilly (ca.1962);ZandraRhodes’ whimsicallyirreverent TopBrass (1964);BarbaraBrown’spowerfullygraphic Expansion (1966), Frequency (1969)and Gyration (1971);andthetonalgradationsofRedgrave’s Cascade (1972)and Harlequin (ca.1972). Theseoftenlarge-scaleabstractandgeometricdesignsinbrightcolorsandboldcombinationswereperfectly suitedtotheminimalismofcontemporaryarchitectureandinteriorswheretheywouldhavemadeastrong statement.Therangeofpatternsatteststotheflexibilityofscreenprintingwhichallowedforagreaterdegree ofexperimentationandfreedomthanblockorrollerprinting.Introducedinthe1930s,screenprintingbecame widespreadafterthewarandparticularlywiththedevelopmentofmechanizedflatbedprintinginthe1960s.

ThemajorityofthefortycottonsinthiscollectionwereproducedbyHeal’s;afewweremanufacturedby Tarian,atextiledesignfirmestablishedbyRedgravein1977.Inadditiontothefurnishingfabrics,Redgrave’s archiveincludespressreleases,black-and-whiteandcolorphotographsofHeal’sstandsattradefairs, informationsheetsonthedesigns,swatches,andtearsheetsandreprintsofarticlesfrom TheAmbassador and HouseholdTextilesInternational.TogetherthesematerialsconstituteanimpressiverecordofHeal’simportance inthehistoryoftwentieth-centuryBritishdesign.

Provenance:Ex-collectionEvelynRedgrave.