Item of the Week: "British Textiles: 1700 to the Present"

New at the Jean Outland Art Library this week is the book “British Textiles: 1700 to the Present.” A collection of textile prints from the Victoria and Albert Museum, the book details the evolution of the textile in England, discussing both technological and artistic innovation through the centuries. The book contains fascinating essays about each period in textile history, with interesting facts you probably never knew about textiles. Here’s a sampling of fun facts I’ve learned so far:




From 1805, a sample from a silk weaver’s pattern book. As technology advanced, artisans utilized new materials, including metallics.



1787. By William Kilburn, designer and calico printer. Flowers on ground covered with leaves.

We often judge a piece of art on how lifelike it is in comparison to the real thing, but in the 1830s, how real something looked was not necessarily a good thing. Henry Cole, the head of London’s first School of Design, “railed against the fashion for ultra-realism in floral patterns, singling out in particular a number of printed furnishing cottons that he criticized for their ‘Direct Imitation of Nature.”

1893, “Crocus” printed fabric.

Textile 5: 1941, ‘Victory V’ dress fabric, produced by the Calico Printers’ Association, Manchester. The border of the design, illustrating three dots and a dash, represents the Morse code for ‘victory.’

 ‘Clandon’ furnishing fabric, roller-printed cotton. 1977.

Like the patronage system of the Italian Renaissance, the “Old Masters” of the textile world had close relationships with the drapers who sold their good. Financial dependence upon these drapers created a symbiotic relationship necessary for the busy industry.

Textile 6: ‘Jupiter’ furnishing fabric, 1967.

Though the textiles are true works of art, few can be attributed to one specific artisan. Few pattern drawers had their names printed on the textiles they designed, so it’s difficult to give credit to particular artists.

1977, ‘Soup Can,’ dress fabric.

‘Shrine’ hanging, painted spun silk. 1997.

Like the modern fashion world, the French were known world-wide for their trends. Designers drew inspiration from the French. “The French lead the taste and we follow them,” said Joseph Lockett, a textile engraver. “I go to Paris three or four times a year for no other purpose than to buy designs and see what the French are doing.”

Our own Moses Myers collection contains several textile samples, believed to be from Jamaica.

 - C.D.