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Textiles of the Arts and Crafts Movement

This is a comprehensive survey of textile designs in the English Arts and Crafts style for twenty five years after the first Arts and Crafts Exhibition in 1888, these English textiles were shown throughout Europe and the United States, influencing designers and attracting a large public. The refined creations of Arthur Silver (including Liberty's celebrated Peacock Feather), the distinctive designs of C. F. A. Voysey, the floral patterns of Lindsay Butterfield and George Haite all were, and continue to be, a source of delight and inspiration. Linda Parry first examines the evolution and development of the style and discusses the whole range of Arts and Crafts textiles printed and woven fabrics, tapestries and carpets, lace and embroidery. She the presents an alphabetical annotated catalogue that provides invaluable information on designers, manufacturers, and shops. The illustrations have been selected from the out standing collections of the Victoria and Albert Museum in London, and are supplemented by notable examples from other museums. For this new edition, many of the illustrations that were previously printed in black and white are now reproduced in full color. Also included are rare period photographs of designers and of the fabrics in use in Victorian interiors.
Product Details

Table of Contents

Preface; Introduction; 1. The Artistic and Cultural Background; 2. The Evolution of a Style; 3. Textiles in the Arts and Crafts Exhibitions; 4. Designers, Manufacturers and Shops; Catalogue of Designers, Craftsmen, Institutions and Firms; Notes; Bibliography; Index


In a delightful and thorough investigation, London's Victoria and Albert Museum staffer Parry recalls the artistic genesis and glory of the Arts and Crafts movement's fabricmakers and their work. The author outlines the history of late 19th century England's textile industry, and shares her understanding of the atmosphere that gave rise to the Arts and Crafts Society 100 years ago. Like the patterns illustrated here, Parry spares no detail in tracing the artists whose work is associated with the movement. While, happily, many lesser-known designers are covered, lengthy analysis is given to C.F.A. Voysey, Lindsay Butterfield and George Haite, whose styles characterize the period. Research dazzles as the Society's exhibitions are recapped and their artistic importance discussed. In a nice touch, we see period photographs of the products in Victorian homes and learn how the public received them. Throughout, Parry displays consummate critical skills while leavening her discourse with enthusiastic appreciation of the fabrics and prints that decorated the Victorian world and now adorn these pages in 50 color plates. (September)

"'A lucid exposition... greatly enhanced by its catalogue of designers, craftsmen and institutions' - The Journal of the William Morris Society"

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