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Roman garden painting, detail, first century A.D.
3 likes 5 repins
Mirror by English Designer Thomas Johnson (1714-1778)
2 likes 4 repins
Stylized Carnations, second half of 16th century, Turkey
1 repin
High-back Side Chair, Artist Unknown (Japan), late 19th century
2 likes 1 repin
Gustave Serrurier Bovy Sette made for the apartment of René Dulong, Paris, 1903-04. Poplar wood and brass fittings
Josef Hoffmann Hanging chandelier, 1903 Alpaca and bevelled glass
1 like
Gustave Serrurier-Bovy Table lamp, c. 1905 Oak, iron black painted and brass
Gustave Serrurier-Bovy Side chairs 'Saint-Saens', 1905 Amaranth, brass mounts and Loetz glass
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Paul Hankar, mahogany screen for le "Grand Hotel", Bruxelles, 1897
2 repins
Josef Hoffmann, Sitzmachine, 1908. Beechwood, stained brown, partly bent and lathe-turned, laminated wood
1 like
Gustave Serrurier-Bovy, Side chair 'Wagner' 1905, walnut, brass
1 like 1 repin
Hector Guimard, Side chairs, 1898-1900 Walnut with gilded and tooled leather seat
1 like
Larkspur wallpaper, by William Morris (1834-96). Colour print from woodblocks. England, late 19th century.
1 like 2 repins
Willow Bough wallpaper, by William Morris (1834-96). Hand-printed. England, 1887.
This mitten had a decorative rather than practical function. Like many of the embroidered gloves made during this period, its purpose was to show off the wearer's wealth and status. Materials & Making The crimson silk velvet mitten has a richly embroidered white satin gauntlet. The embroidery features silver and silver-gilt thread and purl, with couched work and coloured silks and is worked in long and short and satin stitches. Subjects Depicted Familiar flowers such as borage, pinks and lilies, as well as insects and fruits, scattered amongst the foliage, adorn the gauntlet. In the centre of each cuff and repeated back and front, is a pillar entwined with a sprouting vine. It may have been inspired by similar motifs in Geffrey Whitney's book, 'A Choice of Emblemes', (1586). Full of 'devices' or emblems (images associated with moral or allegorical tales), Whitney's 'Choice' was the first English emblem book and a great influence on design of the decorative arts during the Elizabethan and Jacobean periods. Although the precise meanings of many devices are lost today, they would have communicated from the wearer to observers in the way that badges and logos do today. England (embroidered) Date: ca. 1600 (made) Artist/Maker: Unknown (production) Materials and Techniques: Crimson velvet and white satin, embroidered with silver and silver-gilt thread, coloured silks, beads and spangles (sequins)
4 repins
Crewelwork hangings were a very popular form of English domestic furnishing in the late 17th and early 18th centuries. The designs were influenced by contemporary Indian embroidered, printed and painted textiles imported into Europe by the East India Company. English crewelwork experienced a revival as fashionable furnishings in the late 19th and early 20th centuries, when sets (many of which had survived) were bought for use on antique four-poster beds and were also split up and used as curtains on windows. At the time the work was described erroneously as 'Jacobean' work, but later acquired the nickname 'Jacobethan'. Original crewelwork hangings were used in fashionable homes and in those of collectors, but the style also spread to new furnishings, with contemporary designers and manufacturers producing printed linens with similar trailing tree and leaf designs. England (made) Date: 1660-1700 (made) Artist/Maker: Unknown (production) Materials and Techniques: Linen and cotton twill, embroidered with crewel wool
2 repins
This is a panel of Leek Embroidery in silk worked by Frances Mary Templeton in 1892. The Leek Embroidery Society was founded by Elizabeth Wardle (1834-1902), wife of Thomas Wardle, the silk dyer and printer of Leek in Staffordshire. The style was formed to take advantage of the skills of local embroiderers and was adopted throughout Britain. This example was said to have been embroidered by Frances Mary Templeton from Helensburgh in Scotland whose brother-in-law owned the firm of Anderson & Robertson. This firm produced the silk used by Thomas Wardle for his printed silks and for the ground of Leek embroidery. Leek embroidery (as it became known) involved embroidering over the top of printed textiles produced in the Wardle factory. The style demanded a high standard of workmanship and a clever interpretation of the complex designs. The style is characterised by the use of toning pastel silks highlighted with Japanese gold threads. This example is worked in satin and stem stitches, with laid and couched thread. The pattern of this embroidery shows the influence of early 18th-century printed chintzes of the type made in South India on the Coromandel coast. It is also similar to embroideries worked in India during the second half of the 19th century for the western market. These became very popular in England and were sold through fashionable shops such as Liberty's. England (made) Date: ca. 1892 (made) Artist/Maker: Wardle, Thomas (manufacturer) Templeton, Frances Mary (embroiderer) Leek Embroidery Society (designer)
3 repins
For the first 20 years of the 19th century the finest and most expensive printed furnishings were polychrome woodblock-printed cottons, the technique used here. This fabric might have been used for curtains or upholstery. In this period it was particularly fashionable for the different furnishings used in a room, including window curtains and upholstery fabric, to match or complement each other. Place Most of the leading printworks in the London area had closed down by the beginning of the 19th century, and the centre of the textiles printing industry had shifted to Lancashire and to Carlisle in Cumbria. This example is extremely close to original designs printed at the Bannister Hall works for Bateman & Todd, a leading firm of Manchester merchants, and it may have been commissioned by them from another printer. Lancashire (printed) Date: ca. 1805 (made) Artist/Maker: Unknown (production) Materials and Techniques: Cotton, block-printed, with pencilled (painted) blue
1 repin
Germany (made) Date: 1967 (made) 1926 (designed) Artist/Maker: Stölzl, Gunta (weaver) Albers, Anni (designer) Materials and Techniques: Woven silk and rayon Anni Albers studied weaving because it was the only course open to women at the Weimar Bauhaus, an institution founded by Walter Gropius (1883-1969) to train architects, artists and industrial designers. Its aim was to unite architecture and the fine and applied arts. Anni Albers often looked to her colleague Gunta Stölzl for inspiration and technical advice and eventually succeeded her as Director of the weaving workshop. Albers argued for the need for craft-based design. She encouraged designers to become familiar with the fibres and textures which would be used and not to think of design solely in terms of linear patterns. The original weaving of this important hanging was destroyed during the Second World War. It was rewoven by Gunta Stölzl and 'AA' is embroidered in the bottom right hand corner.
1 repin
England (made) Date: 1660 (dated) Artist/Maker: Mason, Margret (maker) Materials and Techniques: Linen embroidered with silks England (made) Date: 1660 (dated) Artist/Maker: Mason, Margret (maker) Materials and Techniques: Linen embroidered with silks During the 17th century in England, samplers developed from personal reference works for embroiderers, containing trials of patterns and stitches to methods of instruction and practice for girls learning needlework. This example has bands of repeating patterns suitable for the decoration of household linen and clothing, together with alphabets and the maker's name and date, indicating a desire by Margret Mason, who worked it, to mark her achievement.
6 repins
A Dutch interior of the 17th century, a mother lying in a curtained bed, in the room a visitor seated, and a nursemaid with the baby. Place of Origin Brussels (city) (probably, painted) Date 1868 (painted) Artist/maker Alma-Tadema, Lawrence (Sir) (painter (artist)) Materials and Techniques Oil on panel Marks and inscriptions 'L Alma-Tadema 1868'
2 repins
Late 19th century (made) Artist/maker Morris, William (artist) Dimensions Height: 8.6 cm from catalogue, Width: 9.8 cm from catalogue Descriptive line William Morris. Design for initial word 'Whilom' for Chaucer.
Portion of 'Bird and Pomegranate' wallpaper, an all-over design of birds amidst branches of green foliage and pomegranate fruit, some open revealing their seeds, on a dark-blue ground; Print on paper. Place of Origin England (printed) Date ca. 1955 (printed) Artist/maker Morris, William (designer) Morris & Co. (publisher) Arthur Sanderson & Sons Ltd. (printer) Materials and Techniques Print on paper Descriptive line Portion of 'Bird and Pomegranate' wallpaper, an all-over design of birds amidst branches of green foliage and pomegranate fruit, some open revealing their seeds, on a dark-blue ground; Print on paper; Designed by William Morris; Produced by Morris & Co.; Reprinted by Arthur Sanderson & Sons Ltd.; England; ca. 1955.
1 like 3 repins
b&w print of part of room with flagstone floors, a small table, a window with lattice pane and antlers fixed to wooden screen Place of Origin Haddon (photographed) Date 1907 (made) Artist/maker Thomas, O.W.F. (photographer) Materials and Techniques platinum print mounted on card with hand written ink notation Descriptive line Photograph of banqueting hall screen, Haddon Hall, Derbyshire, O.W.F.Thomas, 1907
4 repins
London (printed) Date: 11/1862 (designed (pattern)) 01/02/1864 (design registered) 1864 (manufactured) Artist/Maker: Morris, William (designer) Webb, Philip Speakman (designed the birds, designer) Jeffrey (printer) Morris & Co. (publisher)
1 like 1 repin
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