TEXTILE BAZAAR OCTOBER 2018 Antique ✜ Ethnic ✜ Vintage ✜ Contemporary
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The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art September Diversity Abounds: 2017 In This Issue Recent Gifts to the Collection Volume XXXII, By Jill D’Alessandro, Curator of Costume and Textile Arts Diversity Abounds: Number 2 Recent Gifts . 1-3 and Laura Camerlengo, Assistant Curator of Costume and Textile Arts News from the Conservation Lab: Venus goes to Paris . 4 The Textile Arts collection is comprised of more than 13,000 textiles and costumes from traditions around the world with News from the Chair . 5 a wide array of techniques and cultures represented. What is Member Profile: remarkable about the collection is that it has been largely formed Alex Friedman . 6 by gifts from members of the Bay Area community. In fact, over Save the Date! 90% of the Museums’ Textile Arts collection was acquired by Upcoming 2018 Events . 7 donation. Consequently, our collections reflect the artistic and cultural currents of our city, which presents itself as culturally 2018 International Tour . 7 sensitive, broad-thinking, adventurous, and at the same time, General Calendar . 8-9 most stylish. The diversity of patronage is also seen in donations made within the past two years. In this time, the collection added more than 400 new artworks, which we summarize here. An important gift of over 30 mid- twentieth century Japanese kimonos joined the Museums’ holdings by the generosity of Erik Jacobsen. These garments date from the years leading up to World War II as well as the war period from 1931 to 1945. During this era, Japan emerged as a world power, and its changing status is reflected in the vigor of its artistic output, including contemporary textile design. While the kimono has been worn in Japan for centuries, the patterns found on those produced in the 1930s and 1940s explore concepts of modernity, such as new modes of transportation and technology, interactions with the west, and cultural pride and exchange. The propaganda kimonos–printed with motifs of military machinery Figure 1. Boy’s summer kimono, ca. 1940 Japan and conquests–explicitly celebrate Japan’s military force and Sufu (wood pulp fiber); printed Fine Arts achievements (Figure 1). 86.4 x 81.3 cm (34 x 32 in.) Museums of Gift of Erik Jacobsen, 2015.84.7 San Francisco Wayne Siewert and his late wife, Cathy, donated a significant collection of Mexican textiles and costume from the second and de Young third quarters of the twentieth century. Wayne was a language Legion of Honor (continues on page 2, col. 1) 1 Diversity Abounds: Recent Gifts to the Collection (continued from page 1) professor at the National University of Museums’ costume collection. Highlights Mexico, Mexico City, and Cathy was a from this area of the Quigley gift include textile artist who received her degree Ruth’s 1950 Cristóbal Balenciaga at the Cranbrook Academy of Art. The debutante dress, several ensembles collection focuses predominately, but from Yves Saint Laurent’s famed Fall/ not exclusively, on the huipil (woman’s Winter 1976 Russian collection (Figure blouse), and showcases the textile 3), and a suit from his equally renowned traditions of numerous indigenous “Tribute to Picasso” collection from Fall/ cultures residing throughout Mexico, Winter 1979. A printed silk woman’s including the peoples of Oaxaca, evening dress from Saint Laurent’s Fall/ Puebla, and Chiapas, as well as the Winter 1971-1972 collection, donated Huichol Native Americans residing in by Ruth Quigley, was included in the the Sierra Madre Occidental range. recent exhibition, The Summer of Love This collection was lovingly assembled Experience: Art, Fashion, and Rock & by the Siewerts over the course of Roll, and featured in the accompanying nearly thirty years (1956-1983), both catalogue. by traveling to different regions but From Guignécourt, the former also, as their reputation as collectors Hillsborough estate of international style- Figure 3. Yves Saint Laurent (designer), French, b. grew, through frequent visits from Algeria, 1936–2008 setter Eleanor de Guigné, the Museums Ensemble (blouse and skirt), Fall-Winter 1976–1977 village representatives who would call received a remarkable collection of France. Printed wool. on them in Mexico City. Additionally, From the collection of Mrs. John B. Quigley, nineteenth through mid-twentieth 2016.35.7a-b close relationships with staff members century costumes, accessories, and at Fonart, the National Fund for the their respective periods, the artworks in furnishing textiles. These objects join Promotion of Handicrafts, allowed them this gift reveal much about the unique the couture collection of Eleanor de access to the highest quality textiles consumption habits of the family over Guigné, which was gifted in 1985. In with a focus on those that adhere to the course of two centuries. Highlights addition to being exemplary works from traditional technique of weaving four from the gift include a ca. 1885 woman’s selvedge cloth on a back-strap loom. wedding ensemble with a three-part One huipil from the collection, which woman’s wedding dress designed by features machine embroidery in running French couturier A. Félix (active ca. and chain stitches and hand embroidery 1860–1901); and a ca. 1900 woman’s in encroaching satin and roman stitches, hat by leading French modiste Camille is featured in Beyond the Surface: Roger, which is distinguished by its use Worldwide Embroidery Traditions, on of horsehair to form a semi-transparent view in the T.B. Walker Education Gallery crown. From Eleanor’s personal through January 2018 (Figure 2). wardrobe, the gift included two women’s evening ensembles by French couturier The Museums’ significant holdings Christian Dior (1905-1957): a three- of twentieth-century couture were part black silk faille woman’s evening enriched by the wardrobes of Mrs. ensemble, known as “Indiscrète,” and John B. Quigley and her daughters, a black silk satin woman’s evening Ruth and Joan Quigley. Among the dress, both from Dior’s Fall/Winter 1956 donated artworks are iconic designs Figure 2. Blouse (huipil), Fourth quarter of 20th century collection. by preeminent couturiers such as Yves Mexico, Chachahuantla, Puebla, Nahua group Cotton, synthetic; plain weave, machine embroidery Saint Laurent (1936-2008) and Cristóbal (running and chain stitches), hand embroidery While art collections may be shaped (encroaching satin and roman stitches) significantly by large gifts, donations Balenciaga (1895-1972), both of whom 68.6 x 40.6 cm (27 x 16 in.) are already well-represented in the Gift of Cathy and Wayne Siewert, 2015.67.35 of a few artworks or a single object TAC Newsletter 2 (continued from page 2) PRESTIGIOUS MENTION can be equally transformative. Dean standing supporters of the department, FOR THE SUMMER OF Shearer Wells and Linda Hammes-Wells who have continued, over the course LOVE EXPERIENCE donated a rare blue and white double of many years, to enrich the collection, The Summer of Love: Art, Fashion and weave coverlet woven by the LaTourette such as Gail and Steve Berger. Rock and Roll was noted among the family of Covington, Indiana (Figure 4). Prominent figures in the textiles and “8 Best Museum Exhibits For Fashion The LaTourettes were one of the most tribal art world, they thoughtfully gifted History” in the world according to prolific coverlet weavers in Indiana, and the Museums their personal collection ElleDecor magazine: the coverlet features the LaTourette’s of Andean textiles, which they acquired signature–a blossoming flower–in each while living in the Urubamba Valley, Peru, “From Balenciaga to Louis Vuitton, these corner. Coverlets made by the family’s in 1973. exhibitions are a must-see this summer. patriarch, John LaTourette, only had the In addition to the above mentioned By Sara Tardiff, May 30, 2017 full flower and date, but after his death donors, the following individuals and “It seems that the age-old debate is over: in 1849, the same year this coverlet was families significantly augmented the fashion is considered artwork, and it made, his children Sarah and Henry, Fine Arts Museums of San Francisco’s belongs in museums. At least, that’s what wove coverlets with the word “YEAR” Textiles Arts collection by their recent we’re choosing to believe, what with the above the flower signature to distinguish gifts: Constance B. Peabody, the family major success of fashion exhibitions at their work from their father’s. The of Diana Dollar Knowles, Anne Halley, some of the world’s most prestigious art absence of the word “YEAR” above the David and Jan d’Heurle, William Reno on institutions. After all, what is more telling logo on the Museums’ coverlet suggests behalf of his late wife, Lucille, Barbara of a generation’s cultural progress than that it was one of John LaTourette’s last L. Traisman, Mickey Bright Griffin, the clothing of the time? designs before his passing. the family of Thomas W. Weisel, Kim “Luckily for museum-goers and fashion- In many instances, these artworks were Schwarcz and Carl Schwarcz, Linda lovers worldwide, there are plenty of heirlooms from Bay Area families, and Tesner in honor of Anna Gray Bennett, museum and gallery exhibits to catch their donations to the Museums grant Susan York, Leslee Budge, Ann Getty, this summer that explore the politics and the Textile Arts Department the special Linda Glatz in memory of June Glatz, history of fashion. honor of preserving both Bay Area Stephen J. and Sandra L. Sotnick, Ricky history as well as costume and textiles Serbin, Charles S. and Lucille Arensen, history. Many gifts came in from long- M. Jean Barrett, and Gary Westford. Figure 4. John LaTourette (attrib. to), American, 1793–1849 Sarah LaTourette (attrib. to), American, 1822–1914 Henry LaTourette (attrib. to), American, 1832–1892 Coverlet, 1849 United States, Indiana, Fountain County, Covington Cotton, wool; plain weave double cloth with self fringe 229.2 x 208.9 cm (90 1/4 x 82 1/4 in.) Gift of Dean Shearer Wells and Linda Hammes-Wells, 2015.54 “Fifty years later, the deYoung is celebrating the vivacious counterculture that bloomed from San Francisco’s iconic Summer of Love in 1967.