volumes : 31 cm

Design by C. F. A. Voysey for 'The Owl' wallpaper and textile pattern, London, 1897

Petal Signature Cotton® Design #5353477 42" wide, 4.4 oz per sq yard Everyday-use cotton for quilting, crafts and apparel Estimated shrinkage: 5-6% in length and 2-3% in width Perfect for quilting, craft projects, costuming, toys and accessories.

This is part 1 of a 4-part post on the works of British Artist Edward Bawden, one of a group of artists associated with a community of artists that existed around Great Bardfield during the middle years of the 20th century. Great Bardfield is a village in north west Essex, England. The principal artists who lived there between 1930 and 1970 were John Aldridge RA, Edward Bawden CBE RA, George Chapman, Stanley Clifford-Smith, Audrey Cruddas, Walter Hoyle (principally a printmaker, who ran the printing workshops at Cambridge Art School when I was there, and taught me to do linocuts in the style of Bawden and himself), Eric Ravilious, Sheila Robinson, Michael Rothenstein, Kenneth Rowntree and Marianne Straub. Other artists associated with the group include Duffy Ayers, John Bolam (who taught me painting at Cambridge Art School, and later became the Principal of the school), Bernard Cheese, Tirzah Garwood, Joan Glass, David Low and Laurence Scarfe. Great Bardfield Artists were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives art community in Cornwall, who, after the war, were chiefly dominated by abstractionists. Edward Bawden (1903 – 1989) can be seen as a key artist in the Bardfield group. His long career spanned most of the twentieth century, and comfortably straddled boundaries and borders between the fine and applied arts, boundaries which are seen as so immovable today. Even before his appointment as an Official War Artist in 1940, Bawden had established a reputation as a designer, illustrator and painter. As well as these areas his output over the years include murals, posters, designs for wallpaper, ceramics, lithographic prints and watercolours. Edward Bawden was born in Braintree, Essex in 1903, and was perhaps more firmly rooted in Essex than any other artist represented in the North West Essex Collection. Bawden attended the Friends' School in Saffron Walden. At the age of eleven he strained his heart and was excused participation in sports. This may have allowed him to devote more time to drawing, and his portraits and caricatures attracted the attention of his tutors who arranged for him to spend a day a week at the Cambridge School of Art. The school, now part of Anglia Ruskin University, had been founded to comply with the Ruskinian philosophies of improving design for industry, and encouraging amateur aspirations. Bawden fitted perfectly. Before long, he had gained entry to the Royal College of Art. Here he was taught by Paul Nash (a lasting influence on Bawden and his contemporaries), and the popular E. W. Tristram. It was at the RCA that Bawden first met his 'kindred spirit', Eric Ravilious, the two quickly becoming firm friends, though entirely different in temperament. Shortly after leaving the college, the pair gained a prestigious commission to paint a mural for the refreshment room of Morley College in London. He first rented half of Brick House, the imposing Georgian house in Great Bardfield in the mid-1920s with Ravilious, and after his father purchased the whole house for him on his marriage to Charlotte Epton in 1932, he continued to live there until moving to Saffron Walden in 1970 after Charlotte's death. Brick House, Great Bardfield in 1960 by Ronald Maddox watercolour Brick House is on the left, on the right is the Old Police House. I am showing Bawden's work chronologically by date, so there will be a mixture of paintings, commercial work and textiles: n.d. Night and Day textile 57 x 112 cm Cat linocut n.d Beirut watercolour 1926 Fruit and Napkin wallpaper for Curwen Press 1927 Bullford Mill near Black Notley Essex watercolour 1927 London Back Garden engraving 19 x 10.5 cm 1927 Redcliffe Road engraving 15 x 9 cm 1927 Southcliffe Beach engraving 1928 Wallpaper design for Curwen Press 1928 Mermaid and Whale wallpaper for Curwen Press 1929 Knole Park wallpaper for Curwen Press 1929 Lagoon wallpaper for Curwen Press 1931 The Three Graces drawing c1932 Walton Castle, Clevedon, Somerset poster for Shell Oil lithograph 74.6 x 113 cm 1933 Advertisement for Shell Oil 1932-33 Façade wallpaper for Curwen Press Façade was one of the four 'Plaistow Wallpapers' designs commissioned by Curwen Press in 1932, and so called because the press was located in Plaistow, East London. They were produced in lithograph, after the original linocuts. This design was the most popular of all Bawden's wallpapers, selling a total of 3,899 rolls. While 'Façade' might be thought just a neutral title, is it possible that it could have been in the artist's mind because of the popularity around that time of William Walton's musical suites of that name, based on Edith Sitwell's poems. Frederick Ashton's ballet of Façade was premiered in 1931. 1933 Node wallpaper for Curwen Press 1934 Curwen Press Newsletter No. 8 cover illustration 1935 Advertisement for Shell Oil 1935 Wallpaper design for Curwen Press 1935 Park Lane press advertisement for Westminster Bank Ltd. c1935 Othello illustration c1935 The Swiss Family Robinson advertisement for Twinings 1936 Advertisement for Shell Oil c1936 Imperial Aiways folder Le Touquet 1937 Abstract Design from Signature magazine 1937 Book jacket for Faber 1937 Cattle Market lithograph

C.F.A. Voysey. Design for a double cloth textile manufactured by A. Morton & Co. British, 1898.

India Mahdavi 's True Velvet linefeatures 80 solid shades across cotton velvets that allowfor the richest, most sumptuous display of style.

The easiest way to follow your favorite blogs

Veuve Vignard et François Seguin, impr. Avignon, 1771 (coll. Bibliothèque patrimoniale de Grasse) Je suis très heureux du contact que j'ai fait pour vous via la messagerie du Bibliomane moderne. Ou plutôt devrais-je dire, je suis très heureux que nous soyons lus par autant de personnes à travers le monde ; j'avoue que cela motive pour continuer l'aventure. Ainsi, c'est avec plaisir que nous accueillerons désormais dans notre modeste (pour le moment) base de données consacrée exclusivement aux papiers dominotés du XVIIIe siècle, ceux du fonds ancien de la bibliothèque de la ville de Grasse (Alpes-Maritimes). Les quelques reproductions de papier qui vont suivre ne sont qu'un début d'inventaire qui s’avérera, j'en suis certain, beaucoup plus important par la suite. Admirez ! Gabriel floteront. Nice, 1759 (coll. Bibliothèque patrimoniale de Grasse) Gabriel floteront. Nice, 1759 (coll. Bibliothèque patrimoniale de Grasse) Stamperia di Antonio Agnelli. Milano, 1755 (coll. Bibliothèque patrimoniale de Grasse) s.n. Londres, 1756 (coll. Bibliothèque patrimoniale de Grasse) s.n. Londres, 1756 (coll. Bibliothèque patrimoniale de Grasse) Samuel Fauche, libraire du Roi. Neuchâtel, 1782 (sur un imprimé "essai sur le commerce de Russie p. 171") (coll. Bibliothèque patrimoniale de Grasse) Dufort Ainé. Grasse, An X (coll. Bibliothèque patrimoniale de Grasse) Paris, s.n. 1782 puis 1783 (coll. Bibliothèque patrimoniale de Grasse) Paris, s.n. 1782 puis 1783 (coll. Bibliothèque patrimoniale de Grasse) s.l. Orient de Londres, 1788 (coll. Bibliothèque patrimoniale de Grasse) Je vous indique l'adresse du site internet de la bibliothèque de la ville de Grasse : http://www.bibliotheques.ville-grasse.fr/opacwebaloes/index.aspx La référence dans le domaine est l'ouvrage de JAMMES (André). Papiers Dominotés, Trait D'union Entre L'imagerie Populaire et Les Papiers Peints ( France 1750-1820). Paris, 2010, in-4 carré, 561 pages, ca. 300 reproductions en coul., cartonnage éditeur illustré. - La premières essentielle étude sur ces feuilles et sur l'emploi qui en été fait. 180,00€ Et n'oubliez pas que vous pouvez consulter notre album Picasa qui regroupe actuellement quelques dizaines de papiers différents, c'est ICI. Pour enrichir cette base il vous suffit de m'envoyer un mail à [email protected] Bonne journée, Bertrand Bibliomane moderne

Check out the Ra Collection : Papyrus Fabrics in Fabric by the Yard, Fabrics & Linens from Katie Leede & Company for 95.00.

Furnishing fabric, duplex printed cotton, ca. 1910, British; Liberty & Co. Ltd. "Latham"

Explore Neville Trickett's 4536 photos on Flickr!

Rebeccah Pailes-Friedman is an expert in wearable technology design, functional clothes and goods made from smart textiles. After many years of experience as an industrial and fashion designer, as well as a professor and researcher at Pratt Institute in Brooklyn, New York, she created the Interwoven Design Group. Her vast experience and knowledge have landed […]

Mayer Fabrics is pleased to introduce the Majorelle Collection which draws its inspiration from the enchanted Jardin Majorelle of Marrakech. Starting around 1923, the garden was created over a forty-year period by the French Orientalist artist, Jacques Majorelle, who brought back exotic plants and rare species from his world travels. While wandering through the amazing more »

SCHUMACHER INDIAN ARBRE JACOBEAN LINEN FABRIC 10 YARDS HYACINTH LAVENDER BLUE CLICK ON PHOTOS TO ENLARGE COLORWAY: HYACINTH LAVENDER BLUE MULTI REPEATS: V 46" H 52" 100% LINEN WIDTH: 52" IMPORTED FROM THAILAND SUITABLE FOR ALL HOME DECOR AND UPHOLSTERY....... RETAILS FOR $350 A YARD VIA DESIGNERS..... PLEASE EMAIL WITH ANY QUESTIONS YOU MAY HAVE....AS THERE ARE NO RETURNS

Preamble For your convenience I have listed below other post in this series: Silk Designs of the 18th Century Woven Textile Designs In Britain (1750 to 1763) Woven Textile Designs in Britain (1764 to 1789) Woven Textile Designs in Britain (1790 to 1825) 19th Century Silk Shawls from Spitalfields Silk Designs of Joseph Dandridge Silk Designs of James Leman Silk Designs of the 18th Century [1] The English silk industry had its origins in the production of ribbons and half silks woven in London from the 16th century. The enormous growth in the weaving of pure silks came in the second half of the 17th century due to market stability, which resulted because of the end of the Civil Wars and also from demand from the American Colonies for consumers goods. The silk industry moved from City of London to a suburb - Spitalfields. A rare photograph shows a Spitalfields weaver’s workshop, taken in June 1885. Courtesy of the Hamlets Local History Collection. Although it developed its own individual character, woven silk design in England always had to compete with changes in fashion and technical advances in Lyon France in order to gain market share. A rare illustration of shows a Spitalfields weaver’s loom, drawn in June 1885. Courtesy of the Hamlets Local History Collection. The 18th Century designs and woven silks have been acquired by the Victoria and Albert Museum over a period of more than one hundred years, and so witnessed the development of the English silk industry. The Victoria and Albert Museum, is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. In 1991 the museum acquired from Vanners Silks Ltd - a group of ninety-seven silk designs, mostly by James Leman, which had been on loan to the museum for a number of years. The museum also acquired from the textile firm of Warners, a total of 25 pattern books, thirteen of them containing 18th and early 19th Century woven silks. The Warner Archives was further substantiated from acquisition of archives of firms that Benjamin Warner took over in the late 19th Century. The stylistic developments during the first half of the 18th Century are evident in the outputs of such designers as James Leman, Anna Maria Garthwaite, Christopher Baudouin and Joseph Dandridge. Anna Maria Garthwaite Anna Maria Garthwaite moved to London with her widowed sister Mary in 1730, and lived in Spitalfields until her death in 1763. There is no obvious explanation as to how or why she obtained artistic and technical training to equip her as a successful silk designer. She worked as a freelance designer, producing designs for both master weavers and mercers. She was prolific, producing as many as eighty designs in a year. Her patterns – before she arrived in London – show her experimenting with different styles, and some may have been intended for embroidery or lace – but the careful indication of a repeat on several of the early designs, proves they were meant to be woven. On arrival in London she quickly understood that her designs should be tailor made for particular types of fabrics and so she grouped her work into: gold stuffs, brocades or damasks. The late 17th and years of the 18th Century had seen a fashion for extreme and unnatural patterns in silks. As the years progressed, richer silks were more luxuriant, with their semi-naturalistic flowers entwined around gold scrolls on grounds of silver and gold. In 1732 a revolution in silk design in France brought a totally new inspiration, as designers turned away from surface texture to the depiction of three-dimensional form. One designer in particular Jean Revel, introduced a method of shading, called points rentres, whereby tones of color were dovetailed in weaving to extraordinary effect. Colors were bold and there large areas of plain silk to set off the designs. Anna Maria Garthwaite possessed a number of French designs from the 1730s in her own collection. Silk design by Anna Maria Garthwaite (ca. 1726 – 1727). Silk design by Anna Maria Garthwaite (ca. 1730). Silk design by Anna Maria Garthwaite (before 1730). Silk design by Anna Maria Garthwaite (ca. 1732). Silk design by Anna Maria Garthwaite (ca. 1732). James Leman James Leman was born into a weaving family of Huguenot decent. James Leman was apprenticed in 1702 to his father. Leman trained as a designer as well as a manufacturer. The museum’s earliest designs of James Leman are dated from 1706, just four years after the start of his apprenticeship. In 1711 he was admitted as “Foreign Master” to the Weavers Company and in 1712 on his fathers death he took control of the family business. As well as producing his own accomplished designs, Leman engaged other designers such as Christopher Baudouin and Joseph Dandridge, both well known in their day. The latest known designs by Leman are dated 1722, although part of the canopy used at George II’s coronation in 1727 was supplied by the mercer George Binckes, known to have brought designs from Leman. James Leman in 1706-1707 showed in his silk designs the characteristics of unnatural patterns - with elongated patterns, motifs both strange and familiar of different scale juxtaposed and elements of chinoiserie and japonaiserie. Their strong reds and yellows are color codes for different types of metal thread. From the early 1710s Leman’s increasingly sophisticated work shows more bizarre motifs retreating from his designs, while the designs still retained their strong sense of movement and their various elements from interconnecting layers of increasing elaboration. By 1720 a particular style had developed, which came to dominate silk designs for the next decade. It comprised of an elaborate framework with a point (mirror) repeat, which gave an air of formality even to very light and delicate patterns. Silk design by James Leman (1706/1707). Silk design by James Leman (1709). Silk design by James Leman (1710). Silk design by James Leman “taken from a Dutch stuff” (1711). Silk design by James Leman “taken from a Dutch stuff” (1717). Christopher Baudouin Christopher Baudouin was described as the first silk designer who brought the flowered silk manufacture in credit and reputation within England. He was a Huguenot refugee, possibly from Tours, and was active in London from the 1680s. He was naturalized in 1709. His earliest extant design, dated 1707, was to be woven by Lemans for Mathew Vernon, a mercer with a royal appointment. His 1720s designs are more delicate, accomplished but still highly fashionable. His designs were collected by Garthwaite and held in her collection among her '…patterns by different hands.' It is estimated he had died some time before 1736. Silk design by Christopher Baudouin (1707). Silk design by Christopher Baudouin (1718). Silk design by Christopher Baudouin (1723-1724). Joseph Dandridge A silk designer by profession, Joseph Dandridge was also a distinguished botanist, entomologist and ornithologist. He was born in Buckinghamshire in 1665 and came to London as an apprentice in 1679. The extant silk designs that can be attributed to him, commissioned by James Leman, date from between 1717 and 1722. He was a silk designer for almost forty years. He had the reputation of being good at designing damasks, while the patterns he prepared for Leman were for the richest silks, to be executed chiefly in gold and silver thread. He may have continued as a silk designer into the 1730s, when he had as his pupil John Vansommer, who would become a distinguished silk designer in his own right. Dandridge died in 1746. Silk designed by Joseph Dandridge (1707). Silk designed by Joseph Dandridge (1718). Silk designed by Joseph Dandridge (1718). Silk designed by Joseph Dandridge (1707). Silk designed by Joseph Dandridge (ca. 1734). Reference: [1]'Silk Designs of the Eighteenth Century,' Ed. C. Browne, Thames and Hudson, London (1996).

Twelve fabric and wallpaper houses share their insights on trends and covetable designs as spotted at 100% design South Africa.

A modern intricately embroidered floral design with an understated shimmer. Technique-rich stitching adds depth and movement to this lovely stylized design which is perfect for drapes.

Kuratiert für Ihr Zuhause in den heutigen Top-Heimmoden. Thibaut Designer Leinen Vorhang Panels sind Flat Top oder Pinch Plissee bereit für Clip Ring Aufhängung oder mit Pins für Ripple Fold/Messer Plissee Style. Erhältlich in einer Vielzahl von Farben auf den Fotos. Wenn Sie eine andere Falte oder Rutentasche/Rückenlasche/etc. bitte Nachricht an uns. Wünschen Sie eine andere Breite, Länge oder benötigen Sie Verdunkelungsfutter? Schicken Sie uns einfach eine Nachricht! Preis gilt pro Panel. 100% Leinen Rapport H 137,16 cm Rapport V 96,52 cm Gardinenpaneele werden oben flach vorbereitet für Messerfalte mit Stecknadeln oder Clipring zum Aufhängen. Wenn Sie andere Falten möchten, senden Sie uns bitte eine Nachricht, da wir Pinch-, Inverted- und Euro-Falten sowie Ösen, Rückenlasche oder Stangentasche tun. Fachmännisches und hochwertiges Handwerk mit benutzerdefinierten 10 cm doppeltem unteren Saum und 1,5 cm doppelten Seitensäumen, beide blind genäht. * Versteifter/verstärkter Header (Buckram/Krinoline) * Gewichtete Ecken * Gefüttert ####BITTE LESEN: Wir erstellen Ihr spezielles Stück nur für Sie, so dass Artikel nicht zurückgegeben werden können, es sei denn, es gibt ein Qualitätsproblem. Daher kaufen Sie bitte ein Muster, wenn Sie Bedenken bezüglich Farbe oder Textur haben. Wir machen auch kundenspezifische Bettröcke, Bettbezüge, Vorhänge und Tischdecken. Senden Sie uns einfach eine Nachricht, um Ihr individuelles Projekt zu erstellen. Erfahre mehr über diesen Artikel

Fabric and wallpaper showroom is West Palm Beach offering exclusive designer fabrics and wallpapers. This contemporary geometric print offers various shades of greys and browns and can be used for custom drapery, bedding, and more.