Style Starters: Liberty's of London Peacock Fabric, 1887

Textile
Roller Printed
Designed by Arthur Silver for Liberty's of London, 1887
The Victoria & Albert Museum

Here, we see a textile sample from a roller-printed cotton which was used for furnishings, as curtains or upholstery. The brilliantly colored tail feathers of peacocks were very popular motifs with designers of the Aesthetic Movement. In addition to being a popular theme in textiles both for home and fashion, the feathers themselves were often used in the home—placed in vases and containers to add rich color to any space.  That’s a trick that I use around my own 1890s home and I must say it’s an elegant addition to a room.

This pattern was drawn in 1887 by Arthur Silver who set up the Silver Studio at Brook Green in 1880, later moving to Haarlem Road, Hammersmith, London. The Silver Studio was renowned for its designs and supplies them to a host of high-end retailers.

This particular textile was originally sold through Liberty's on Regent Street, London.  Liberty’s notably helped proliferate the Aesthetic style in England. This pattern was resurrected for the V&A's Liberty exhibition in 1975 and has since become almost a trademark for the company.

Reverse of the fabric.

The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

Unusual Artifacts: Wedding Favors, 1854

Click image to enlarge.
Wedding Favors
England, c. 1854
The Victoria & Albert Museum

The tradition of handing out wedding favors, especially to those who participated in the wedding party, goes back centuries. The origin of this custom is difficult to trace as it is not unique to any one culture.

Some of the most famous wedding favors are those which were presented at the 1840 marriage of Queen Victoria and Prince Albert. “The Times” reported that white favors were given out at the lavish nuptials:

Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom.

While the custom of orange blossoms at a wedding pre-dates Victoria’s wedding considerably and actually arose in Asia, the interest in the blooms was rejuvenated after that Royal wedding. After witnessing the gorgeous orange blossoms at Queen Victoria’s wedding, many brides wished to have similar favors and turned to more permanent imitation blossoms.

Take, for example, this pair of wedding favor froms an 1854 union. The orange blossoms on these favors are made of cloth and feature silvered paper leaves and trimmings of cream silk satin ribbon. These items are associated with the wedding of Elizabeth Wroughton Richards to the Reverend Andrew Nugee on August 8, 1854.

The Home Beautiful: The Activities of the Farm Toile, 1792

The Victoria & Albert Museum

The term “toile” is a French word which came into the English language in the Sixteenth Century and referred specifically to plain linen or canvas. By the late Eighteenth Centuries, French and English craftsmen were using “toile de jouy,” a phrase which has since been shortened to simply, “toile.” “Toile de juoy” referred to a specific printed linen which depicting very complex scenes (ranging from the pastoral to the courtly) in a bold color (blue, red, green, brown, black, purple) on a light-colored background.

I’ve always been a fan of toile and very much enjoy the look of it because it conveys at once a sense of elegance and casual charm. This particular toile from the Victoria & Albert Museum dates to 1792 and was printed from a copperplate designed by Jean-Baptiste Huet, manufactured by the firm Oberkampf. With its detailed scenes of “the activities of the farm” depciting idealized peasant women and their pets on a background of antique structures comes from fragments from the collection of Madame Mayoux, a Parisian gallery owner and collector, who donated the scraps to the V&A in 1919. It’s quite gorgeous, isn’t it?

Toile de Jouy is still manufactured today in a variety of colors and with a wide array of scenes and themes. The addition of toile works for any room in your home and is an excellent way to inject elegance into any space.

The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

The Home Beautiful: The Golden Jubilee of King George III Cover, 1810

Bed Cover
Made for the 1810 Golden Jubilee
The Victoria & Albert Museum

This quilted patchwork bedcover of printed cottons was made in 1810 for the Golden Jubilee of Queen Victoria’s grandfather, King George III. At the center of the bed cover is a printed basket of flowers which includes lilies, carnations and daffodil buds. This basket is flanked by the rose and thistle, with a cluster of shamrocks beneath –the symbols of the Empire.

The panel is inscribed “G 50 R.” We should note that the floral border is a later addition. The cover has been created with both appliqué and piecing techniques to create the patchwork design.

An X-ray of the bedcover reveals that this was built upon an earlier quilt at the center which has been used for the padding. This earlier, eighteenth century quilt shows an all-over design of chevrons. 

Style Starters: Liberty's of London Peacock Fabric, 1887

Textile
Roller Printed
Designed by Arthur Silver for Liberty's of London, 1887
The Victoria & Albert Museum

Here, we see a textile sample from a roller-printed cotton which was used for furnishings, as curtains or upholstery. The brilliantly colored tail feathers of peacocks were very popular motifs with designers of the Aesthetic Movement. In addition to being a popular theme in textiles both for home and fashion, the feathers themselves were often used in the home—placed in vases and containers to add rich color to any space.  That’s a trick that I use around my own 1890s home and I must say it’s an elegant addition to a room.

This pattern was drawn in 1887 by Arthur Silver who set up the Silver Studio at Brook Green in 1880, later moving to Haarlem Road, Hammersmith, London. The Silver Studio was renowned for its designs and supplies them to a host of high-end retailers.

 
This particular textile was originally sold through Liberty's on Regent Street, London.  Liberty’s notably helped proliferate the Aesthetic style in England. This pattern was resurrected for the V&A's Liberty exhibition in 1975 and has since become almost a trademark for the company.

Reverse of the fabric.

The Home Beautiful: The Mrs. Wood Bed Cover , 1875-85

Bed Cover
1875-85
This and all related images from:
The Victoria & Albert Museum

Made between 1875 and 1885, this bed cover (or wall-hanging) was able to be dated due to the fashionable dress of the characters depicted. The cover was made using a piecing technique, known as “inlay” or “intarsia” wherein cut-out fabric shapes are inlaid into an identical cut-out space in another fabric.  The pieces are then stitched from the reverse side, using extremely small stitches that are not visible on the front.  Sometimes the pieces are further adorned with appliqué.

In this example, the central panels depict the various rituals and emotions associated with courtship.  The scenes move from “Admiration” to “Zingari” (an archaic Italian term used in England for the Romany community (that’s Gypsies, you know)).   The themes depicted are:  Admiration, Beauty, Cupid, Doves, Eyes, Flowers, Guardian, Hopes, Introduction, Jealousy, Kisses, Love letters, Matrimony, Nonsense, Offers, Papa, Quakings. Refusal, Spells, Tiffs, Uncle, Valentine, Wedding, Expression, Yes, and Zingari.

A decorative border frames these romantic images.  The border depicts a variety of popular cultural figures including our Mr. Punch.

This cover came to the V&A from Beckenham, Kent where it was long in the family of the donor who stated that the object was made by a male ancestor while on a long sea voyage.

Object of the Day, Museum Edition: A Linen Nightcap, 1600-1624

Nightcap
The Victoria & Albert Museum

A beautiful work of linen, embroidered with silver-gilt, silver and silk thread and trimmed with silver-gilt bobbin lace seems quite foreign to modern eyes. It is, in fact, a cap. And, odd as it may seem to us now, it was designed to be worn by a man.

Headwear was a significant part of Seventeenth Century fashion. Not only did caps and hats offer another opportunity for personal adornment, they served to keep the head warm and clean. Both men and women had a variety of caps for different occasions and times of the day. A cap such as this was meant to be worn informally and only at home—in private. Even though it’s a nightcap, it was still made to be quite luxurious—adorned with silver and metal spangles (the Seventeenth Century word for sequins) which would have reflected the light of candles and the fire in the hearth.

The embroidery is neatly finished in a pattern of flowers, strawberries, and leaves inspired by the botanical picture books which were popular at the time.

Unusual Artifacts: Wedding Favors, 1854

Click image to enlarge.
Wedding Favors
England, c. 1854
The Victoria & Albert Museum

The tradition of handing out wedding favors, especially to those who participated in the wedding party, goes back centuries. The origin of this custom is difficult to trace as it is not unique to any one culture.

Some of the most famous wedding favors are those which were presented at the 1840 marriage of Queen Victoria and Prince Albert. “The Times” reported that white favors were given out at the lavish nuptials:

Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom.

While the custom of orange blossoms at a wedding pre-dates Victoria’s wedding considerably and actually arose in Asia, the interest in the blooms was rejuvenated after that Royal wedding. After witnessing the gorgeous orange blossoms at Queen Victoria’s wedding, many brides wished to have similar favors and turned to more permanent imitation blossoms.

Take, for example, this pair of wedding favor froms an 1854 union. The orange blossoms on these favors are made of cloth and feature silvered paper leaves and trimmings of cream silk satin ribbon. These items are associated with the wedding of Elizabeth Wroughton Richards to the Reverend Andrew Nugee on August 8, 1854.

The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

Object of the Day, Museum Edition: Queen Alexandra’s Handkerchief, 1880

Handkerchief
c. 1880
The Victoria & Albert Museum

At Sandringham House, Queen Mary had assembled a collection of odd items which constituted a family museum. In this collection, she added souvenirs, clothing, lace and personal objects which had historically belonged to members of the Royal family.

Queen Mary donated part of this collection of lace to the Victoria & Albert museum. Her donation included this handkerchief of linen, white-work embroidery and lace which had belonged to her mother-in-law Queen Alexandra.

Handkerchiefs such as this one were really not for utilitarian purposes, but were designed to be be carried purely as fashionable accessories and to be given as gifts. These elaborate pieces of linen incorporated the initials of their owner in an ornate monogram—especially if the object was part of a trousseau. White-work embroidery such as is seen here made for some of the most desirable handkerchiefs. White-work was made with such skill that it was reversible, being equally attractive on each side. These handkerchiefs were always trimmed with hand-made lace.

Because it was made for Queen Alexandra (when Princess of Wales), it has the initial A with a crown. Queen Mary’s preservation of such objects allowed for future generations to see the personal objects which were used on a daily basis. 

Unusual Artifacts: Wedding Favors, 1854

Click image to enlarge.
Wedding Favors
England, c. 1854
The Victoria & Albert Museum

The tradition of handing out wedding favors, especially to those who participated in the wedding party, goes back centuries. The origin of this custom is difficult to trace as it is not unique to any one culture.

Some of the most famous wedding favors are those which were presented at the 1840 marriage of Queen Victoria and Prince Albert. “The Times” reported that white favors were given out at the lavish nuptials:

Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom.

While the custom of orange blossoms at a wedding pre-dates Victoria’s wedding considerably and actually arose in Asia, the interest in the blooms was rejuvenated after that Royal wedding. After witnessing the gorgeous orange blossoms at Queen Victoria’s wedding, many brides wished to have similar favors and turned to more permanent imitation blossoms.

Take, for example, this pair of wedding favor froms an 1854 union. The orange blossoms on these favors are made of cloth and feature silvered paper leaves and trimmings of cream silk satin ribbon. These items are associated with the wedding of Elizabeth Wroughton Richards to the Reverend Andrew Nugee on August 8, 1854.

The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

Gifts of Grandeur: The Golden Jubilee of King George III Cover, 1810

Bed Cover
Made for the 1810 Golden Jubilee
The Victoria & Albert Museum

This quilted patchwork bedcover of printed cottons was made in 1810 for the Golden Jubilee of Queen Victoria’s grandfather, King George III. At the center of the bed cover is a printed basket of flowers which includes lilies, carnations and daffodil buds. This basket is flanked by the rose and thistle, with a cluster of shamrocks beneath –the symbols of the Empire.

The panel is inscribed “G 50 R.” We should note that the floral border is a later addition. The cover has been created with both appliqué and piecing techniques to create the patchwork design.

An X-ray of the bedcover reveals that this was built upon an earlier quilt at the center which has been used for the padding. This earlier, eighteenth century quilt shows an all-over design of chevrons. 

The Home Beautiful: The Mrs. Wood Bed Cover , 1875-85

Bed Cover
1875-85
This and all related images from:
The Victoria & Albert Museum

Made between 1875 and 1885, this bed cover (or wall-hanging) was able to be dated due to the fashionable dress of the characters depicted. The cover was made using a piecing technique, known as “inlay” or “intarsia” wherein cut-out fabric shapes are inlaid into an identical cut-out space in another fabric.  The pieces are then stitched from the reverse side, using extremely small stitches that are not visible on the front.  Sometimes the pieces are further adorned with appliqué.

In this example, the central panels depict the various rituals and emotions associated with courtship.  The scenes move from “Admiration” to “Zingari” (an archaic Italian term used in England for the Romany community (that’s Gypsies, you know)).   The themes depicted are:  Admiration, Beauty, Cupid, Doves, Eyes, Flowers, Guardian, Hopes, Introduction, Jealousy, Kisses, Love letters, Matrimony, Nonsense, Offers, Papa, Quakings. Refusal, Spells, Tiffs, Uncle, Valentine, Wedding, Expression, Yes, and Zingari.

A decorative border frames these romantic images.  The border depicts a variety of popular cultural figures including our Mr. Punch.

This cover came to the V&A from Beckenham, Kent where it was long in the family of the donor who stated that the object was made by a male ancestor while on a long sea voyage.

Object of the Day: Liberty's of London Peacock Fabric, 1887

Textile
Roller Printed
Designed by Arthur Silver for Liberty's of London, 1887
The Victoria & Albert Museum

It’s peacock day!  Not internationally or anything—just here on Stalking the Belle Époque.  And, when you think of peacocks, well, at least when I think of peacocks, the first thing that comes to mind (aside from the fact that they’re vicious and bite) is the Aesthetic and Pre-Raphaelite movements.  So, let’s take a look at some artistic representations of peacocks from those eras.

Here, we see a textile sample from a roller-printed cotton which was used for furnishings, as curtains or upholstery. The brilliantly colored tail feathers of peacocks were very popular motifs with designers of the Aesthetic Movement.  In addition to being a popular theme in textiles both for home and fashion, the feathers themselves were often used in the home—placed in vases and containers to add rich color to any space.  That’s a trick that I use around my own 1890s home and I must say it’s an elegant addition to a room.

This pattern was drawn in 1887 by Arthur Silver who set up the Silver Studio at Brook Green in 1880, later moving to Haarlem Road, Hammersmith, London. The Silver Studio was renowned for its designs and supplies them to a host of high-end retailers.

 
This particular textile was originally sold through Liberty's on Regent Street, London.  Liberty’s notably helped proliferate the Aesthetic style in England. This pattern was resurrected for the V&A's Liberty exhibition in 1975 and has since become almost a trademark for the company.

Reverse of the fabric.

Her Majesty’s Furniture: The Jouy-en-Josas Upholstery Fabric, 1785

Furnishing Fabric
French, 1785
The Victoria & Albert Museum

We all know that I like toile. I come from a family of toile-lovers actually and a visit to our homes proves that.

Grape harvests were popular among the pastoral scenes which were printed on cotton toile textiles in the late Eighteenth Century. This example in red on white was printed at the factory established in 1760 by Christopher-Philippe Oberkampf (1738-1815) at Jouy-en-Josas--a village located between Paris and Versailles, the main residences of the French court at the time.

These products were printed with copper plates and their crisp patterns caught the attention of the French elite. Oberkampf’s firm was so highly regarded that Louis XV named it a Royal Manufacture.

Unusual Artifacts: A Linen Nightcap, 1600-1624

Nightcap
The Victoria & Albert Museum

A beautiful work of linen, embroidered with silver-gilt, silver and silk thread and trimmed with silver-gilt bobbin lace seems quite foreign to modern eyes. It is, in fact, a cap. And, odd as it may seem to us now, it was designed to be worn by a man.

Headwear was a significant part of Seventeenth Century fashion. Not only did caps and hats offer another opportunity for personal adornment, they served to keep the head warm and clean. Both men and women had a variety of caps for different occasions and times of the day. A cap such as this was meant to be worn informally and only at home—in private. Even though it’s a nightcap, it was still made to be quite luxurious—adorned with silver and metal spangles (the Seventeenth Century word for sequins) which would have reflected the light of candles and the fire in the hearth.

The embroidery is neatly finished in a pattern of flowers, strawberries, and leaves inspired by the botanical picture books which were popular at the time.

Object of the Day, Museum Edition: Queen Alexandra’s Handkerchief, 1880

Handkerchief
c. 1880
The Victoria & Albert Museum

At Sandringham House, Queen Mary had assembled a collection of odd items which constituted a family museum. In this collection, she added souvenirs, clothing, lace and personal objects which had historically belonged to members of the Royal family.

Queen Mary donated part of this collection of lace to the Victoria & Albert museum. Her donation included this handkerchief of linen, white-work embroidery and lace which had belonged to her mother-in-law Queen Alexandra.

Handkerchiefs such as this one were really not for utilitarian purposes, but were designed to be be carried purely as fashionable accessories and to be given as gifts. These elaborate pieces of linen incorporated the initials of their owner in an ornate monogram—especially if the object was part of a trousseau. White-work embroidery such as is seen here made for some of the most desirable handkerchiefs. White-work was made with such skill that it was reversible, being equally attractive on each side. These handkerchiefs were always trimmed with hand-made lace.

Because it was made for Queen Alexandra (when Princess of Wales), it has the initial A with a crown. Queen Mary’s preservation of such objects allowed for future generations to see the personal objects which were used on a daily basis.