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2018 Annual Report
2A018 nnual Report Details Trustees, staff and volunteers The William Morris Society PRESIDENT WMS VOLUNTEER ROLES Registered address: Jan Marsh (to 12 May 2018) Journal Editor: Owen Holland Kelmscott House Lord Sawyer of Darlington (from 12 May 2018) Magazine Editor: Susan Warlow 26 Upper Mall Librarian: Penny Lyndon Hammersmith TRUSTEES Journal Proofreader: Lauren McElroy London W6 9TA Martin Stott, Chair (to 12 May 2018) Stephen Bradley, Chair (from 12 May 2018) The William Morris Society is extremely Tel: 020 8741 3735 Rebecca Estrada-Pintel, Vice Chair fortunate to be able to draw on a wide range Email: [email protected] Andrew Gray, Treasurer of expertise and experience from our www.williammorrissociety.org Natalia Martynenko-Hunt, Secretary volunteers, who contribute many hundreds of Philip Boot (from 12 May 2018) hours of their time to help with welcoming TheWilliamMorrisSociety Jane Cohen visitors to the museum, delivering education @WmMorrisSocUK Serena Dyer (to 12 May 2018) sessions to schools and families, giving printing williammorrissocietyuk Michael Hall demonstrations, answering enquiries, Kathy Haslam (to 12 May 2018) cataloguing and caring for our collections, Registered Charity number 1159382 Jane Ibbunson (from 12 May 2018) office administration, serving refreshments and Fiona Rose maintaining our garden. John Stirling (from 12 May 2018) We are grateful to all who give up their time The Trustee Board operates through five to help with the work of the Society. committees. These are: Finance and General -
Vilniaus Dailės Akademijos Kauno Fakultetas Grafikos Katedra
VILNIAUS DAILĖS AKADEMIJOS KAUNO FAKULTETAS GRAFIKOS KATEDRA Ugnės Krasauskaitės ORNAMENTO METAMORFOZĖS: AUGALINIŲ MOTYVŲ GRAFIKA Magistro baigiamasis teorinis darbas Taikomosios grafikos studijų programa, valstybinis kodas 621W10007 Magistrantė: Ugnė Krasauskaitė .................................................. (parašas) .................................................. (data) Darbo vadovė: doc. dr. Odeta Žukauskienė .................................................. (parašas) .................................................. (data) Tvirtinu, katedros vedėjas: doc. Vaidas Naginionis .................................................. (parašas) .................................................. (data) Kaunas, 2017 1 AUTENTIŠKUMO DEKLARACIJA Aš, Ugnė Krasauskaitė, kandidatas (-ė) VDA Grafikos katedros magistro laipsniui gauti, patvirtinu, kad šis baigiamasis darbas paremtas mano paties (-čios) tyrimais ir jame naudotasi tik tokia papildoma informacija, kuri nurodyta nuorodose, paaiškinimuose, šaltinių, literatūros bei lentelių ir paveikslų sąrašuose. Patvirtinu, kad baigiamajame darbe nėra naudojamasi kitų darbais to nenurodant ir nė viena baigiamojo darbo dalis nepažeidžia jokių asmens ar institucijos autorinių teisių. Taip pat nė viena baigiamojo darbo dalis nebuvo pateikta jokiai kitai aukštojo mokslo institucijai, kaip akademinis atsiskaitymas ar siekiant gauti mokslo laipsnį. Ugnė Krasauskaitė 2 Turinys SANTRAUKA ...................................................................................................................................... -
Catalogo-Liberty-2014.Pdf
Soon after opening on London’s Regent Street in 1875, trading exotic goods and textiles from the Far East, Arthur Liberty began working with local artisans and manufacturers to produce Liberty’s own textiles and objets d’art. By the 1890s Liberty Art Fabrics were a byword for the very best of Avant Garde textile design. Liberty Art Fabrics Interiors beautiful new collection of furnishing fabrics and wallpapers combine detailed pattern and vivid colour in signature Liberty style. Comprising three exquisite ranges; The Nesfield Collection, The Jubilee Collection and The Heritage Collection, designs showcase contemporary, illustrative handwriting alongside traditional and revival archive prints translated on a range of premium quality furnishing cloths. With a commitment and passion for design excellence, the rich heritage of Liberty print continues. Cushions from left Royal Daisy in Velvet Blush, Ray in Midnight, Floral Mawston Meadow in Pollen, Field of Xanthe Sunbeam in Dove The Nesfield Collection A showcase of Liberty’s modern and archival designs: textures, meadows, forests and gardens influenced by the work of British landscape archivist William Nesfield. The collection celebrates both botanical beauty and design craftsmanship. Design detail and vibrant colour palettes are borrowed from Nesfield’s most famous English landscapes: from the turquoise greens and soft fountain blues of Castle Howard’s cascading waterfall, to exotic, rich reds and pinks from Kew Garden’s Palm House and subtle tones of fawn and moss of spacious English parklands at Whitley Court. Hand drawn and painted designs including cartography, lithographs and delicate flowers sit alongside landscape photography and blend effortlessly with classic archive florals. -
Unit 119: Printed Textiles for Fashion and Clothing
Unit 119: Printed Textiles Code: R/502/5438 QCF Level 3: BTEC National Credit value: 10 Guided learning hours: 60 Aim and purpose The aim of the unit is to develop learners’ knowledge and skills in the use of printed textiles for different applications and their understanding of the way designers, artists and craftworkers work with traditional and non-traditional materials to produce individual and diverse work using a variety of techniques. Unit introduction Textile designers, who produce designs for commercial fashion and clothing, work with small and large pattern repeats. Large-scale designs that wrap around a garment can be produced by textile artists who use printed textiles to communicate and express ideas in their personal work and these are usually one-off pieces. Textile designers usually produce hand painted designs or computer generated work which is sold to buyers on behalf of fabric printers. Ideas are then adapted and put into production. Designers usually present their ideas in a selection of colour-ways that follow seasonal or independent trend predictions. The aim of the unit is to introduce learners to the techniques and application of printed textiles in fashion and clothing. Fashion designers and textile artists work with traditional and non-traditional materials to produce individual and exciting work using a variety of techniques. Designers use a range of skills in developing ideas for printed textiles. Learners will research a range of visual sources including exploring the work of historical and contemporary textile designers. They will develop these sources using a variety of materials, techniques and processes using both traditional and non-traditional materials. -
Learning Academy TEXTILES
Learning Academy TEXTILES. ANCIENT TO MODERN 27 September 2018 – 11 July 2019 Course Director (Thursdays, over three terms) Jennifer Wearden was Senior Curator 11.10–15.30 of Textiles in the Department of Furniture, Textiles & Fashion until (Each term includes optional gallery talks, 2005. With experience of the textile commencing at 10.00 and repeated at 15.30) industry in Lancashire and 28 years working with the textile collection In our throw-away world where dress in the V&A, she has devised and run and furnishings quickly go out of highly successful courses on textiles fashion and are easily replaced, they and dress for the Museum. She has co- are often seen as transient accessories authored several popular V&A books to our lives but throughout history including Samplers (1999), Ottoman textiles were the most obvious Embroidery (2001), Dress in Detail from expression of our personal values. around the World (2002), Oriental Lustrous silk, crisp linen, soft wool Carpets and their Techniques (2003) and ‘ and brightly coloured cotton clothe Iranian Textiles (2010). our bodies and decorate our homes. Although patterned textiles are the most intimate form of decorative art Other Lecturers because we wear them next to our Dr Susan Kay-Williams, Royal School of skin, how well do we know them? Needlework YEAR COURSE Dr Gale Owen-Crocker, University of Manchester P R O G R A M M E Become familiar with textiles by learning about techniques and designs Dr Amandine Mérat, British Museum 2018–19 from around the world and exploring Dr Wolf Burchard, National Trust how they have been used in Europe to produce an infinite variety of fabrics Dr Philip Sykas, Manchester School of Art and patterns. -
Kunst- Und Museumsbibliothek Der Stadt Köln
Kunst- und Museumsbibliothek der Stadt Köln KUNSTDOKUMENTATION WERNER KITTEL Register der Firmen und Institutionen Register of firms and institutions Vereinbarungen zur Alphabetisierung des physischen Conventions concerning the alphabetical order (in the shelves) Bestandes Zahlen finden sich am Ende des Alphabets. Numbers are found at the end of the alphabet. Deutsche und dänische Umlaute sind alphabetisch relevant: d.h. German and Danish umlauts have alphabetical relevance: i.e. ä ä = ae, ø = oe. would be equivalent to ae, and ø would be equivalent to oe. Artikel bleiben alphabetisch irrelevant. Articles are considered to be alphabetically irrelevant (The Firmennamen, die erkennbar aus europäischen Vor- und Gallery would be found at Gallery, The). Familiennamen bestehen (John Deere Traktoren z.B.) werden Firm names consisting of European-type first and family names nach dem Familiennamen aufgeführt (in diesem Fall: Deere). (such as John Deere tractors) will figure by “family” name, in this Monogrammähnliche Abkürzungen werden in das fortlaufende case “Deere”. Monogram-type abbreviations are integrated into Alphabet integriert: also P.J. Furniture nach Pittsburgh Plate. the general alphabet: P.J. Furniture follows Pittsburgh Plate. „Le“ und „La“ werden meist wie Namensbestandteile behandelt: “Le” and “La”-prefixes are usually considered to be part of the also Le Coultre wie Lecoultre. family name: Le Coultre is treated as Lecoultre. Alphabetisierung der öffentlich-rechtlichen Institutionen Alphabetical sorting-in of public institutions Fachschulen, Universitäten, Fakultäten etc. werden bei und Design schools, universities, faculties etc. are sorted unter den Orten alphabetisch erfasst, in denen sie angesiedelt alphabetically under the name of the town of activity: VChutemas waren oder sind: also VChutemas unter Moskau. -
A HISTORY of the DEVORE TEXTILE 1880 to 1940. a Thesis
FROM ECONOMY TO EXCLUSIVITY: A HISTORY OF THE DEVORE TEXTILE 1880 TO 1940. A Thesis submitted for the degree of Doctor of Philosophy By ANDREA ROBERTSON Volume 1 2D Design, Faculty of Design Buckinghamshire Chiltems University College BruneI University February, 2005. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author under the terms of the United Kingdom Copyright Acts. No quotation from this thesis and no information derived from it may be published without proper acknowledgement. BRITISH A~V~811 ::a m < ~ o ::a-I c: n- S -I m m C N Abstract This thesis creates a contextual historical analysis of the development of chemical and devore manufactured textiles, relating methods of construction and intended use to existing textile design and social histories. The initial investigation of devore practice, whether used in association with woven, knitted and stitched textiles, includes a comprehensive examination of the historical textile patent record from 1840 to 1940, which formed an extensive part of the historiography. The aim of the research was to establish a credible narrative of woven devore, through its design and its manufacture. The methodology is interdisciplinary. In the course of my research and material evaluation I have considered evidence that is normally considered to be chemical and fibre analysis, design and art history review, dress textile and interior textile analysis, social and economic history and object analysis. This study in particular focuses on the peculiar dichotomy of woven devore: that is its growth as a manufacturing method of affordable textiles for the mass market contrasted with its most common deployment, as an ornate decorative textile. -
Anmerkungen Tion 1780-1848
412 Vgl. u. a.: Das Zeitalter der europäischen Revolu bert Stephenson (1803-1859) wesentlich beteiligt Anmerkungen tion 1780-1848. Frankfurt!M. 1969 = Fischer Weltge war. gewann den Wettbewerb zwischen vier Konkur schichte 26 (dort weit. Lit.)- Hobsbawm E. J .. Euro renten. Die Maschine erreichte in freier Fahrt die da päische Revolutionen. Zürich 1962 (aus dem Eng I.) mals beachtliche Geschwindigkeit von 60 km/h (mit Sedlmayr H .. Gefahr und Hoffnung des technischen Last 22 km/h). Zeitalters. ln: DerTod des Lichtes. Salzburg 1964, 17 Quelle: Bergeren Anm. 3, S. 191 149-169. 2 U. a.: 1733 Erfindung des >>Schnellschützen« zur 18 Preußen war um 1860 die größte Industrie Steigerung der Webgeschwindigkeit durch John Kay macht Deutschlands. 2/3 der Dampfmaschinen verei (1704- nach 1764); 1769 Konstruktion der Flügel• nigten sich auf seinem Territorium; die Kohle- und spinnmaschine durch Sir Richard Arkwright (1732- Stahlproduktion schnellte empor. Es besaß in Mittet 1792); 1782/84 entwickelt James Watt (1736-1819) europa das bestausgebaute Eisenbahnnetz. Vgl. u. a.: aus seiner 1765 erfundenen direktwirkenden Nieder Das bürgerliche Zeitalter. Frankfurt/M. 1974 = Fi druck-Dampfmaschine mit Drehbewegung jene Ma scher Weltgeschichte 27. schine. die wesentlich zur industriellen Revolution 19 Meier Günther (Hrsg.), Karl Friedrich Schinkel. beitrug; 1784/85 konstruiert Edmund Cartwright Aus Tagebüchern und Briefen. München/Berlin/Wien (1743-1823) den mechanischen Webstuhl und 1789/ 1967,116. 90 die Wollkämmaschine; 1793 entwickelt der Ame rikaner Eli Whitney (1765-1825) die Baumwoii-Ent 20 Hard Times (1854. dt. Harte Zeiten 1880 und kernmaschine. öfter) zitiert nach Posener J., Ebenezer Howard. Gar tenstädte von morgen. Berlin 1968, 16 f. -
The Subject Index
DAS Index – Subjects AA Journal 20.64 Aalto, Alvar 10.34–6, 19.48, 56, 27.16, 31.75 Abadie, Paul 14.6 Abbey, Edwin Austin 21.60, 24.50, 28.197 Abbey Theatre (Dublin) 9.29 Abbot Hall Museum (Kendal) 31.42 Abdulla Cigarettes 23.62–3 Abels, Gustaf 5.6 Abercrombie, Patrick 26.121, 127 Aberdeen 21.35–44 Argyll Place and Crescent 21.37, 39 Art Gallery 35.125 Ecclesiological Society (later Scottish Ecclesiological Society) 21.35, 41–2, 44 Episcopal Church 21.42 Hamilton Place 21.35, 37, 39 Philosophical Society 21.35 Queens Cross Church 21.37 St Machar’s Cathedral 23.40 Seaton Cottage 23.34 Society of Architects 21.35 Victoria Park fountain 21.35 West Kirk 23.42–3 Aberdeen Directory 21.35 Aberdeen, Ishbel-Maria, Lady 18.63 Abney Hall, Cheshire 25.54–5 Abspoel, Willem F. 7.34 Abu Dhabi 32.145 The Academy 23.93, 98 Academy of Fine Arts (Valenciennes) 21.119 Acatos (Peter) (pottery) 15.25 Accles and Pollock (furniture) 8.54 Ackroyd, Peter 35.77, 79 Acton Burnett Hall (Shrewsbury) 24.13 Acton, Sir Harold 35, 8.31–2, 35.136 Acton, William 8.32 Adam & Small 23.48 Adam, Robert 8.7, 33.62, 67 Adam, Stephen 23.33, 35, 48 Adam style 8.7, 9.45, 46 Adams, John 30.117 Adams, Katharine 28.193 Adams, Maurice B 26.61, 28.116 Adams, Percy 21.122 Adburgham, Alison 33.82, 34.38 Addams, Jane 28.67, 75 Addison, David 24.54 Addison, Ruth 33.14–15 Adelphi (London) 21.127–8 Adeney, Bernard 17.34 Adie Bros 17.61, 62 Adjani, Isabelle 22.87 Adler, Rose 1.38 Adlington, William Sampson 21.95 Admiralty Harbour (Dover) 21.109 Adnet, Jacques 27.18 Adnet, J.J. -
Design History Society
Design History Society Free-Lance Textile Design in the 1930s: An Improving Prospect? Author(s): Christine Boydell Source: Journal of Design History, Vol. 8, No. 1 (1995), pp. 27-42 Published by: Oxford University Press on behalf of Design History Society Stable URL: http://www.jstor.org/stable/1315908 Accessed: 15-03-2016 14:46 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press and Design History Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of Design History. http://www.jstor.org This content downloaded from 146.227.159.63 on Tue, 15 Mar 2016 14:46:09 UTC All use subject to JSTOR Terms and Conditions Christine Boydell Free-lance Textile Design in the 1930s: An Improving Prospect? In December 1931 Warner & Sons produced their printing in relation to other techniques used for the first hand-screen printed textile-'Shrubbery' [l]. production of fabrics, both printed and woven. The design had been purchased from Miss V. Muller Company records suggest that a large proportion of for ?7. This apparently minor historical moment designs for hand-screen printed fabrics were pur- marks the beginning of a development in both the chased from women free-lancers; within the wider process of printing and the source of designs for context of free-lance design the significance of this textiles. -
The Research Library of Arlene Cooper Textiles, Costume & Fashion
The Research Library of Arlene Cooper Senior Research Assistant, Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York Textiles, Costume & Fashion with Important Groups of Books on Central Asian, Indian & Islamic Textile Traditions 1780 titles in circa 1900 volumes Arlene Cooper Arlene Cooper is President of Arlene C. Cooper Consulting and provides expertise to museums and private clients on the management, documentation, and exhibition of textile and costume collections. She holds a B.A. in design and textile history from SUNY Saratoga and an M.A. in Costume Studies from New York University. She is a frequent lecturer on these topics. Arlene has worked with The Metropolitan Museum of Art as a Senior Research Assistant in the European Sculpture and Decorative Arts Department and as a Consultant in the Costume Institute. A passion for dance has led her to conduct extensive research on 17 th and 18 th -century ballet costume. Her service as a member of the Board of Directors includes Youth America Grand Prix (2008-present), Morphoses: The Wheeldon Company (2009) and Ballet Tech (1999-2009). She has chaired New York City Ballet’s annual Dancers’ Choice benefit performance since its inception in 2008. In 2010 Arlene was co-Executive Producer of the heralded film New York Export: Opus Jazz . Arlene Cooper - from : Textile Museum Symposium, 1998 Arlene C. Cooper, a textile historian specializing in "Kashmir" and "Paisley" shawls, is the author of Infinite Variations: "Kashmir" and "Paisley" Shawls in North American Collections, to be published by E. J. Brill, Leiden, in 1999. -
Origins of the Liberty Cymric Silver Range by Anthony Bernbaum Introduction
archibald knox soc booklet 2014 with corrections.qxp 24/03/2014 10:43 Page 26 Origins of the Liberty Cymric Silver Range by Anthony Bernbaum Introduction This article looks at the period 1898/9 and the birth of the Liberty Cymric silver range. It particularly focuses on the work not just of Knox but also of Oliver Baker, Rex Silver, Bernard Cuzner and David Veazey who are typically recognised as early contributors to the range. The article draws two main conclusions. Firstly that Archibald Knox did contribute significantly to the early Cymric silverware. The article identifies examples of Knox early metalwork design style allowing new designs to be attributed to him, and in some cases possibly away from him. Secondly the article demonstrates that above all one other designer, notably Oliver Baker, played a key role in the launch of the Cymric range in 1899. The article draws extensively on three primary sources. The Silver Studio archive is held at the Museum of Domestic Design and Architecture, Middlesex University, England (the archive is referred to throughout this article as "MODA"). The archive contains hundreds of early Cymric silver designs, which are unsigned and are therefore not readily identifiable to a designer, but many of which do have names, for example "The Magnus" clock. Secondly the first Liberty Cymric catalogue titles "Cymric silver-work" was published in May 1899. A copy is held at the National Art Library in London1. This is not illustrated but each piece in the catalogue (around 80) is named and described and so a few items can be tied back to the designs at MODA.