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Catherine O'hara Phd Thesis

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The Secret Life of Design in Ulster’s Interwar Linen Industry: a critical analysis of the contributions of the Old Bleach Linen Company. CATHERINE O’HARA SCHOOL OF ART FACULTY OF ARTS, HUMANITIES AND SOCIAL SCIENCES OF ULSTER UNIVERSITY THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY JANUARY 2018 I confirm that the word count of this these is less than 100,000 words. This thesis is dedicated to the memory of my friend Roger Allen CONTENTS FIGURES 1 ACKNOWLEDGEMENTS 11 SUMMARY 14 NOTES AND ABBREVIATIONS 15 NOTE ON ACCESS TO CONTENTS 17 INTRODUCTION 18 CHAPTER 1: ‘Apathy and Drift’: The Condition of the Interwar Linen Industry in Northern 33 Ireland 1.1 Diminished Nation? 33 1.2 Contextualising the Linen Industry 34 1.3 Industry Reality vs. Unreality 35 1.4 Official Intervention 37 1.5 Industrial Research 38 1.6 Further Threats 39 1.7 The Necessity for Innovation 42 1.8 Association Glut 46 1.9 Getting Organized at Macro and Micro Levels 48 Summary 50 CHAPTER 2: Modernity and Design Reform in Britain and Northern Ireland 56 2.1 Design Reform 59 2.2 The Design and Industries Association 61 2.3 The DIA in Northern Ireland 62 2.4 Textiles and the DIA 65 2.5 Good Design and the Modern 66 2.6 Art and Industry in Belfast 68 2.7 Arts Criticism and the ‘Validity’ of the Local 70 2.8 Modernity and the Museum 71 2.9 The ‘Good’, the ‘Bad and the ‘Ulster’ 76 2.10 Design Reform and the Role of Government 78 Summary 80 CHAPTER 3: Official Design Reform in Northern Ireland 86 3.1 The Ministry of Education’s 1933 Memorandum 87 3.2 Inducements 90 3.3 Committee of Inquiry into the Position of Industrial Art in Northern Ireland 92 3.4 The Scope of the Problem 94 3.5 Industrial Art Education 95 3.6 Resources and Research in Art Schools 97 3.7 Art Education and Modernity 98 3.8 Improving Industrial Art Education 102 3.9 Supply and Demand 105 3.10 Quality of Design work in the Schools 106 3.11 The Final Report of the Committee on Industrial Art 108 3.12 The Committee’s Recommendations for Art Education 109 3.13 Art Advisory Council (est.1936) 110 Summary 111 CHAPTER 4: ‘Just draw me a Chrysanthemum’, The Manufacturer and the Designer in the 118 Linen Trade 4.1 The Evidence of Industrial Witnesses at the Committee of Inquiry 120 4.2 Apprenticeships 121 4.3 The ‘Qualified’ Textile Designer 121 4.4 Demand and Supply and the Problem with Originality 122 4.5 The Status of Designers 125 4.6 What the Producer Asks 128 4.7 What the Designers Offer: Infallible Prophets? 130 4.8 Public Taste, Fashions and Influence 132 Summary 136 CHAPTER 5: The Linen Web(b): Promoting Irish Linen 143 5.1 Irish Linen Promotional Initiatives: The Irish Linen Society (1919-1921) 146 5.2 The Irish and Scottish Linen Damask Guild (1926-1932 and 1934-1939) 148 5.3 The Irish Linen Guild (1928 – Present) 155 5.4 Additional Guild Promotion 160 5.5 Exhibitions 161 5.6 Linen and Industrial Art Exhibitions 166 5.7 Old Bleach and Industrial Art Collections and Exhibitions 167 5.8 Old Bleach in Manchester 171 5.9 Old Bleach Publicity 175 Summary 180 CHAPTER 6: Old Bleach’s Design Imperative 188 Part One: Damask Cloth and Embroidery Design 189 6.1 Damask Table Cloth Designs: ‘Old Bleach Damasks are Unrivalled in Design and Quality’ 189 6.2 The Enduring Pleasure in the Floral 191 6.3 The Lesson of Classicism 193 6.4 The Decorative Cloth and the Modern Cloth 197 6.5 Irish Designs in Irish Cloth 201 6.6 Old Bleach Towel Designs 202 6.7 Old Bleach Embroidery Designs for Tea Cloths: The Persistence of Florals 204 6.8 The Embroideress: Old Bleach and James Pearsall & Co 208 Part Two: Furnishing Fabrics 212 6.9 Early Days 212 6.10 Design Themes: Movement 216 6.11 Design Themes: Checks and Crossbars 218 6.12 Design Themes: Texture 221 6.13 ‘Modern Artists Design for Old Bleach Fabrics…’ 221 6.14 Series One 222 6.15 Series One: ‘The Old Bleach Studios’ 222 6.16 Series One: Felix C. Gotto 224 6.17 Series One: Four ‘Famous’ Designers 226 6.18 Series Two 231 6.19 Series Two: Design Themes - The Reliable Floral 231 6.20 Series Two: Design Themes - The Leaf Motif 234 6.21Series Two: Design Themes – Scale 235 6.22 Series Two: Marion Dorn’s ‘Aircraft’, ‘Zodiac’ and ‘The Ulster Group’ 235 6.23 Old Bleach’s Period and Reproduction Designs 242 Summary 246 CONCLUSION 256 EPILOGUE: Critical Reflection and Future Research 262 APPENDICES 263 Appendix I: Old Bleach Museum Holdings – The Victoria and Albert Museum 263 Appendix II: Old Bleach Museum Holdings – The Whitworth Gallery & Manchester Art Gallery 266 Appendix III: Old Bleach Museum Holdings - The Irish Linen Centre & Lisburn Museum 270 Appendix IV: Glossary 275 BIBLIOGRAPHY 276 FIGURES Explanatory Note The majority of the illustrations within the thesis are taken from original sources. Some of which have been reproduced here from poor quality imagery but are still useful visual records and many of which have not been published before. Introduction Fig. 0.1 Scenes from The Old Bleach Linen Company factory, Randalstown, County Antrim. Left: hand- painting and hand embroidering were undertaken in conjunction mechanized factory production. The Daily Mirror, May 28, 1929. Source: The Newspaper Library, Central Library, Belfast. Fig. 0.2 Old Bleach “Slemish” Furnishing Fabrics brochure. Early 1930s. Source: Industrial Art Collection, Textiles: Old Bleach File, Manchester Art Gallery. Fig. 0.3 Left: George’s Suitcase. Right: a letter in the suitcase – Chanel’s Registered Design, Certificate of Design Registration with the Board of Trade, 30 January 1933. Source: Old Bleach Archive, Private Collection. Chapter One - Apathy and Drift: The Condition of the Linen Industry in Northern Ireland during the Interwar Period Fig. 1.1 James Humbert Craig, “Northern Ireland Flax Growing”, Empire Marketing Board, 1930. Source: The National Archives, CO 956/287. Fig. 1.2 Aerial photograph of LIRA, Lambeg, published in the New York magazine, Linens and Domestics, 1951. Source: Alfred S. Moore Collection, Belfast Central Library. Fig. 1.3 Inspection Day at Sandringham – with delegates from Scottish and Ulster linen interests, included here are Lord Craigavon, Prime Minister of Northern Ireland, Lewis C. Gray of Norfolk Flax Ltd and third from the right, Norman Fitzroy Webb, Old Bleach Linen Company, The Northern Whig, 3rd October 1935. Source: LIRA Press Cuttings Book, LIRA, Lisburn Museum and Linen Centre. Fig. 1.4 Demonstration of ‘Old Bleach’ hand-painting, 1930s. Source: Company Photograph Album, Old Bleach Archive, Private Collection, Randalstown. Fig. 1.5 Longer Life Linens, Old Bleach Linen Company Price List, 1938. Source: Old Bleach Archive, Private Collection, Randalstown, Randalstown. Fig. 1.6 ‘Almost revolutionary’ Longer Life Linens, Old Bleach Linen Company, 1937. Source: Collection of Author. Fig. 1.7 Appreciation card from W.H. Webb to the employees of Old Bleach upon his ‘retirement’ in 1945. Source: Old Bleach Archive, Randalstown. Chapter Two - Modernity and Design Reform in Interwar Britain and Northern Ireland Fig. 2.1 Left: Capitol Cinema, Antrim Road, Belfast, 1935, Architect: Thomas McLean; Right: The Whitla Hall, Queen’s University, Belfast, begun 1939, Architect: John McGeagh. 1 Fig. 2.2 Original Exhibition Poster by textile designer Minnie McLeish, 1916. Source: PRONI: BCT/6/14/3, Photograph taken by author. Fig. 2.3 ‘Specimens of Embroidery’, Belfast College of Art Prospectus, 1939-1940. Source: PRONI: BCT/6/14/3. Fig. 2.4 Left: ‘Ordinary Cottage’ where ‘innumerable ornaments and pictures, for the true cottager retains that passion for objects, which the cultured have so signally abandoned’. Right: ‘Cultured Cottage’ objects are ‘now symbols firmly displayed between inverted commas.’ Source: Homes Sweet Homes, Osbert Lancaster, 1939. Fig. 2.5 Old Bleach Linen Furnishing Fabrics in the DIA’s glass lantern slide collection. Left: ‘Auburn’ and ‘Gola’; Middle: ‘Gweedore’ and ‘Waterford’; Right: ‘Granard’ and ‘Liscannor’. The slides are undated but the fabrics were most likely produced c. 1936. Source: DIA archive, AAD/1978/3, VAM. Fig. 2.6 Left: Old Bleach’s textiles in the Manchester City Art Gallery including from left to right: ‘Fermoy’, Strangford’, ‘Aircraft’, ‘York’, Tufted Fringe (name unknown), ‘Wexford’, 1938, Source: Whitworth Gallery Archive; Right: ‘Aircraft’ designed by Marion Dorn for Old Bleach 1938, alongside ‘Vertical’ designed by Ben Nicolson for Edinburgh Weavers, 1937, House Proud Exhibition, Manchester Art Gallery, 2016 (both fabrics are held in the Whitworth Gallery’s Archive). Source: Photograph taken by author. Fig. 2.7 Ulster Industries Development Association’s campaigns centred on two tenets: ‘Empire buying begins at home’ (buy) and ‘To Push Ulster Goods’ (sell), 1932. Source: PRONI: COM62/1/271. Fig. 2.8 Advertisements in a variety of local press of four public lectures by Anthony Bertram, ‘Lecturer in Fine Arts’ for 1938/39 Session, Queen’s University Belfast. Source: University Newspaper Cuttings Books, Special Collections and Archive, QUB. Chapter Three - Official Design Reform in Northern Ireland Fig. 3.1 Pages from Larne Technical School Prospectus, 1915-16, included in Principal Thomas Clearkin’s Response to the Ministry of Education’s Inquiry (1933) into existing art training in Northern Ireland in preparation for the Committee of Inquiry (1933). Source: PRONI: ED/13/1/1713. Fig. 3.2 Left: ‘Sperrin’, Right: ‘Chevron’ (‘Birch Bark’ in the foreground) designed by Norman Fitzroy Webb, Old Bleach Linen Company, 1933. Source: Left: author’s photograph, Clothworkers’ Centre, Blythe House, V&A, London.
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