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Tfie Prodcüïion and PATRONAGE of ALEXANDER MORTON & COMPANY's *DONEGALCARPETS

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Tfie Prodcüïion and PATRONAGE of ALEXANDER MORTON & COMPANY's *DONEGALCARPETS -G A NATIONAL INDUSTR.. TfIE PRODCüïiON AND PATRONAGE OF ALEXANDER MORTON & COMPANY'S *DONEGALCARPETS AMin The Dcparcment of Art History Presentcd in Partial Fulfiiment of the Rcquirements for the Dcgree of Master of Arts concordia University Montreal, Quebec, Canada National Library Bibliothèque nationale 1*1 ofCanada du Canada Acquisitions and Acquisitions et Bibliographk Services services bibliographiques 395 Wellington Street 395. rwWeiiingtocr OttawaON KtAONQ OctawaON KlAûN4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conseme la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la îhèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Handcaftiag a National IadusÉry: The Production and Patronage of Nexaxxkr Morton & Comparry's Dom@ Carpu This thesis offers a social history of Alexander Morton & Company's Done@ carpeu - their production and patronage. These ninetœnthccntury caqxts wne pmmoted as uiiaic pmducts and apjKaicd to upper- and middle-cla co~lsumersin Britain, ireland, North America, Australia, New Zealand, and South Afna The new carpet ïndustry, based in ireland, catercd to the popular taste for dl things Oriental and to the socialisl idais of the Arts and Crafb Mmmcnt (1850-1920). Donegal carpet designs ranged hmEastern motifs to Arts and Crafts florals to Celtic interlace. Prominent designers in the Arts ad Crafts Movement created designs for thse carpets which wcre alsa acccpted as parc of the visual arts of the Celtic Revivai in ireland The Donegal carpet's succes can k cvplained using Piem Boutdieu's thcory conceming the socid formation of taste. In this study of Moflon's Donegal carpe& 1 test the validity of three aspcds of Bowdieu's theory: habiîus, culturai cudes, and symbolic capital. Archival material, press aceounts ad historical writing reveal several issues involved in this enterprise, such as ethnicity, gendtr' class and cultural appropriation. Thest. issues arc addressed in an examination of this literatw as well as the:design transitions en&& by Morton & Co. Ultimately, this study is an attempt to locate the Donegal carpets within the material and idcologicai conditions of oollsumption and production. In addition, a case study of the Morton designer bhry Seton Watts highlights one woman's art production- f 1 wish to express my âeepest gratitude to Dr- Janice Helland whose continued academic, personal and professional encouragement means a great deal to me. Her unfailing confidence in my abiiities and support of my ideas (whether to fly to England or cake a train to Kingston) bas made the production of th& thesis a challenge and a pleasure. For king so gcnerous with tbùr Lime and kaowledgc, I thank the othcr members of my thesis cornmittee, Dr, Catherine MacKenzie and Dr- Lydia Shanaan- During my research in London, staff members of several institutions were exuemely helpfiil and kind In particular, Eva White of the Archivt of Art and Design, whose patience was never-ending - evcn whcn 1 ordered an entire archive by mistake; as well as Ricliard Jeneries and Janet McLcan of the Watts Pichire Gallery, who brought Mary Seton Watts to life and generowly aUod me to keep a memento of my visit Throughout the preparation of this thesis family, fiiends and colleagues shared with me theu intelligence, encouragement, humour and time. For the invention of "mail night" which replenished my energy aad creativity, 1 thank Karen DeLutis, Marthe Founier and Sandra Moldy. For entertainhg me on a QiIy basis, I thank Andrea Welch with her calls, messages and chais over a cup of Whittards. For Listcning to my countless ramblings on caqets and taking me out of moments of selfdoubt, for traveiling with me - again - and for putting up with ail the books, 1 thank Mark Paterson Finally, I thank my parcnts, Janet and Stephen Cheasley, for their boundless encouragement and interest in my work and 1 wîsh to thank my Mum for king my first cditor - a permanent position! TABLE OF CONTENTS 1 A 'DEALER'S LORE': ANACCoiNï OF ALEXAM)= MORTON& COMPANY'S DONEGALCARPET INDUSTRY ................................................................. 10 Exploring ireland: The Donegal Carpet Industry fiom its Inccption The Morton Family and ihe Irish People A Cornparison: AliaHart's Donegal Indusuial Fund The Popular Reception of Donegai Carpets Political, Historical and Sacial Omissions 2 APPWG TO THE 'EDUCATEDEYE': DESIGN TRANsmoNs INDONEGAL CARPETS... ........................................................................................ 39 The Social and Political Seiting of the Donegal Carpet Industry A Fashion for Ail Things Oriental The Arts and Crafts Movement (1850-1920) Wockers, Designers and James Morton 'A New National Industry' LIST OF FIGURES hfiormatioa in square brackcts indicaies the source ami page uumbcr fmn which the illustration has been taken (Sa bibliography Tw ni1l dctails). Tbe dimensions, when Imowa, are listai in centimetres. Edmund Evans, AhdWn; or me WondnfufLamp, 1875. Wood-* publishcd by George Routledge & Sais, Ladon, Glasgow, New York (27 x 23.5 cm) [Ca*iloguc item no, 198, Sato adWaÉinabt, Jupand Bntdn, 1301 Charles Rickttts (1866-1931), Cos~unteforthe Mikado, c. 1926, [Catalogue item na 2 15, Sato and Waianabe, Jupn und Britafn, 1331 Spinning and urpct wuving it Morton's (int pr& in Killyùegs, Couaty Donegd. mlam, Arts and Crofis Carpets, 951 Morton Fmüy Photogrrpb: back mw - Wiiiiam, Alexaader (Alec), James, Gavin (Guy); fiont row - Mary, Maggïe, Jeanie, Alexander (senior), Agnes, Jeanie (senior), Helen (Neiiie). [Jocelyn Morton, Three Generatiom, 751 Eariy Donegd urpet dosdy modeilcd dtcr an Eastern uample, design attributed to Gavin Morton, date unavrilable. mlam, Arts und Crafls Carpets, 1031 Donegd urpet dcsigncd by Gavin Morton and G. K. Robertson, c 1899. wlam, Arts and CruEs Carpets, 971 The Duleek, Domgil carpet design4 by C. F. A. Voyscy, abibited at LiWsin 1903. [Haslam, Arts and Crafls Carpers, 125) The Donnemuru, Donegai carpet designcd by C. F. A. Voysey, eshibited at Liberty's in 1903. [Haslam, Arts and Crufls Carpets, 1221 The Clenmure, Donegd carpet designcd &y C. F. A. Voysey, exhibited at Liberty's in 1903. (Haslam, Arts und Crafrs Corpets, 1001 Drawing for a design by George Wdton, c 1899. [Moon, George WaZton, 1001 George Waiton, detai! of stencilkd linen usai on the fneze in the moming room of the EIm Bank, 1898, [Moon, George WaLton, 691 Peony and Uly, tcxtik design by Ceorge Wdton for Morton & Co., Septanber 1927. woon, George Walton, 1741 vii The Ardnw,n, DonegJ tupct wovcn for Liùerty's, c 1903. The design is an adapoitim f?om the Book ofKells. mlam, Arts and CrajfsCarpets, 130-3 11 Folio 128v of tbe Book of Rd&: Symbolr of the four tvmgeiiuts. [Bernard Meebau, The Book of Kei&: An nlustrated IntlrOdtrction to the Mumcscript in Triniîy CoIIege Dublin (Lmdoa: niames & Hudson, 1994), 40) Foiio 27v of tJe BwrL ofKdLt: SymboIr of the four cwngelists. @fe&q 23e Book O/ Kellls. 81 Fovnàbg a Nrrthul Indusîry - Irish Ca*. PPZiotogiaph of Liberty's exhiiïtion of Don@ carpets (with garden pottery fiom the Pm'Art Guild) at the Grafton Gaiicy, Lon- 1903. [Gd&Mary Seton Watts, 12 ] -portraii, Muy Seton Frascr-Tytler. Oil on cari-, 188 1 (68 x 55.2 cm). [Gd& Mary Seton Watts, 27J Mary Seton Watts .ad G. F. Watts in a resding dcove designed by Mary Won Watts, Limnersiease, 1893. [Gould, Mary &ton Wafts,401 The Watts Mortuary CbapeI, Compton, Surny, 1894-98. [Gould,Mary Seton Watts, 451 Spi& of Truth, detail, Watts Chapel, date unavulible. [Gould, Muty Ston Watts, 471 Terracotta gardcn pottcry, Potten' Art Guild, 1898-1902. [Catalogue item nos. 8 1-83, 86, 87,90, Gould, Mary Seton Watts, 5 11 Jessie Newbey design: linm appliqué cushion =ver embroidered in silks with edges of needleweavbg, worked by the designer, c. 1900. [Pq,Textiles of the Arts and Crafis Mivement, culour plate 821 23e Pdian carpet designcd by Mary Seton Watts, 1899. Wool (26 1.6 x 117 an). [Catalogue item no. 43 in Gouid, Mav mon Watts, 521 Detail of pelican on carpct reverse. [Gould, Mav Seton Watts, 531 Portrait of Junts Morton by G. FI Watts (1901) prcsateâ as a wedding gifi to Beatrice Fagm Morton. [iocelyn Morton, Three Genemtiom, 107) In the late nineteenth ccntury, the Swttish textile maadixtwer, Alexander Morton developed a prosperous carpet industry in the West of Wand (County Donegal). The success of this prodm largdy depended on its reception by the public, who decided whether it was in 'good taste'. An examination of the formation of taste wiu reveal how these carpets came to have value asmibed to them by a particular group within a particu& context. For purposes of this thesis, the discussion of taste relies on Pierre Bourdieu's anaiysis fiom The Field ofCu/turaiProduction (1 993) and Dishnction (1 984). Bourdieu's theory is fiindamental to this project as it explains the social ground of aesthetic taste. He claims that, without this grounding, Mewould be perceived as a universal aesthetic and 2 cultural practice, when in fact it is a produa of pnvilege. In nineteenth-century Britain taste, partidarly in the upper classes, was greatly affecteci by the ever-expanding British Empire, which extended as far from England as Afiica and 1 Motto fiom a speciai postage stamp issucd by the Canadian gonrmnent, 1898, to œl&ratt the advent of imperiai penny postage.
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