Saturday, 27 January 2018

Haslemere & the Spitalfields Weavers Part 1

There are links with the Haslemere weaving to the Spitalfields Weavers (in addition to the link through Luther Hooper with the Harris weavers in my previous post here).  Not knowing the details of what happened to the Spitalfields Weavers, and why some might find themselves in Haslemere, I found an excellent summary by Lasenby Liberty writing in 1893 on the industry which I reproduce here.  The demise of the Spitalfield silk industry is an interesting example of economics in action.

On the demise of the Spitalfields weavers 'Spitalfields Brocades' (Studio: International art vol.1,1893, online here) Liberty wrote:
“To those in sympathy with the recent patriotic movement inaugurated on behalf of the English Silk Brocade Industry of Spitalfields, it may be interesting to briefly recall a few incidents in regard to the introduction, gradual development, and subsequent decline of this beautiful art industry….Even so far back as the beginning of the sixteenth century, the craft or mystery of silk-weaving was recognised as one of the most flourishing industries of France.  But it was at a somewhat later period that it was carried from France over to England, where it did not assume any considerable importance until about the middle of the sixteenth century.
 
Illustration from 'Spitalfields Brocades', Liberty, Lasenby, Studio: International Art, Volume 1, 1893


In  1585 numbers of skilled Flemish weavers, driven over by the devastating War of Independence, sought and obtained refuge in Great Britain from the terrors of Spanish domination , and localised their cult, notably in and around the county of Norfolk, and particularly the process known as “flowered and striped” silk-weaving.  Almost exactly one century later, the Revocation of the Edict of Nantes compelled thousands of the Huguenots of France to flee their native soil, and again a very large number of skilled Protestant workmen sought protection in England.  Many among the Huguenot refugees were silk-weavers, and settled in Spitalfields.  And although both the Flemish and Huguenot weavers formed independent coteries in other districts, yet Spitalfields from the first became, and to-day remains, the centre of hand-loom work in English-made silks.

…in the year 1825 the number of hand-looms in use in the district was estimated at 24,000, the number of persons employed 60,000, the amount of silk used one-and-a-half million pounds, and the average annual value of the work produced some £2,000,000 sterling.

In the year 1860, however, the English silk weaving trade suddenly lost the fostering care and fiscal protection which for two preceding centuries it had enjoyed.  The “Cobden Treaty” ruined an erstwhile thriving industry by brusquely casting aside protective tariff rates without note of warning, and this inviting competition with metericiously cheaper Continental goods.  In but a few short years the number of looms in Spitalfields was reduced to some 1,200, and the operative weavers to about 4,000.

Had the competing Continental goods been frankly offered as of inferior quality as well as lower in price, or had time been allowed for acquiring certain occult chemical mysteries and simulations to apply in our own method of manufacture, the products of the Spitalfields looms could, doubtless, have held their ground.    But owing to a pernicious and misleading practice, followed by the Continental manufacturers, of artificially weighting silk yarns during the process of scouring and dyeing, the competing silken fabrics were not for a while recognised as intrinsically inferior.  The British silk-weavers suffered-
(     1)  By the flooding of the English market with inferior, though albeit lower-priced goods, and
      2) By a subsequent fateful re-action, a stern and just Nemesis, in the form of a withdrawal of public favour and demand for every kind of silken fabric. 

Illustration from 'Spitalfields Brocades', Liberty, Lasenby, Studio: International Art, Volume 1, 1893
…All silken fabrics, British and foreign alike, were avoided by reason of the discovery of the bad wearing quality of the artificially weighted foreign substitutes, which were too frequently represented and sold as Spitalfields silks..attributed the thirty long years of general avoidance by an ill-used public of silk materials applied to dress and upholstery purposes. 

Undoubtedly the present tendencies are toward revival.  At the moment there is a coy and timorous advance in the direction of an acknowledgement of the intrinsic and comparatively unassailable excellencies of Spitalfields brocades.  These happy auguries are due to:
(1) The disinterest and patriotic interest awakened in royal and distinguished English gentlewomen, again exemplified since these lines were penned on the occasion of the recent visit to Spitalfields of H.R.H. the Duchess of Teck and Princess Victoria Mary;
      2)    The formation of a society devoting its efforts to secure a permanent revival of the British silk industries, known as the Silk Association of Great Britain and Ireland; and
(     3)  The energy and intelligence of some few leading producers and distributors, who have realised that success largely depends on increased care in the selection and application of designs and colourings, and on a sustained and jealous regard for the technical excellence of the output of the looms.

…The revivifying influences are already so beneficial that connoisseurs and experts at recent Public and Trade Exhibitions of British-made Silks hesitated to believe that a combination of such artistic and perfect work could be produced by nineteenth-century Englishmen, and not until after a  visit to Spitalfields, an inspection of the looms, and of the sumptuous and dainty fabrics slowly growing under the deft hands of the weavers, was conviction brought home. 

….An patriotic and discriminating  few already insist on the advantage of English-made silks; it rests with the English designers, manufacturers, and distributors to convince the many they can secure equal intrinsic value and better design and colour in silks of English manufacture.  Then will the sumptuous and dainty creations of the Spitalfields looms once more become a permanent and important source of national benefit and legitimate pride.”

Illustration from 'Spitalfields Brocades', Liberty, Lasenby, Studio: International Art, Volume 1, 1893


Friday, 26 January 2018

Luther Hooper and Harris Tapestry Weavers

I stumbled across someone online who had been researching some relatives from Harris as I was wondering who "Miss Clive Bayley" was, having been highlighted for her tapestry (in my post Peasants at the Woman's Exhibition, 1900).  I believe the Harris weavers identified as living in Bushey were working for Luther Hooper at The British and Irish Spinning and Weaving School branch school in Bushey, which he refers to his biography (online here): "In 1901 I returned to London in order to design for and superintend a small tapestry-weaving industry at Bushey, a branch of weaving I had not hitherto studied: here I remained for rather more than a year and then removed to Haslemere".


Harris Tweeds
for sale today online here
It is interesting to see that the weavers of Harris were learning in Bushey from Hooper.  This then made me wonder, is Harris Tweed the only continuing British weaving industry from c.1900?  Should we look to the Harris Tweed company to see how the Haslemere Peasant Arts movement might have looked today?  Looking online I can see that there are many interesting stories to uncover in this area, if you had the time to look.  There is a short recording of the Harris weaver Marion Campbell at the loom on Youtube here.

Harris Tweed, History internet pages here
Peter Kerr writes that (on his blog here, Tapestry Weavers, 5 December 2010):


"Four young ladies from Harris who in 1901 were employed as Tapestry Weavers.  What made this surprising was that the young ladies, aged from 15 to 25, were all credited with having been born in Obbe, Scotland but at the time of the census were boarders in the house of a 40 year-old Metropolitan Police Constable in Bushey, Hertfordshire....Three more from Obbe but this time at 34 Silvester Terrace in Bushey, the Head of Number 32 being a local man, George Corney who was a Master Baker.  Of this dozen, two are Blind and one is Deaf & Dumb.  Three of the Tapestry Weavers are 17 & 18 year-old young ladies from 'Obbe, Harris, North Britain'.


Marion Campbell, Harris weaver
from Isabella Whitworth's blog here

from Isabella Whitworth's blog here
Marion Campbell, from Hebrides.com here
"So a total of seven female Tapestry Weavers from Harris, all specifying their birthplace as 'Obbe', were possibly working together but for whom and where is uncertain for, unhelpfully, the Baker lists the ladies relationship to him not as 'Boarder' or 'Lodger' but as 'Weaver'.  I suspect that George was the landlord for the ladies at number 34, for it is clearly a separate household but the first person on the list is not shown as the Head of the Household which is the expected practice."

The two houses are home to George, his Wife and their Niece together with a Domestic Servant and no less than six Tapestry Weavers, four Carpet Weavers and two more who appear as Mixed Weavers."


Obbe, Isle of Harris

Saturday, 13 January 2018

Peasants at the Woman's Exhibition 1900


Ethel Blount exhibited a number of pieces at the 1900 “Woman’s Exhibition” held at Earl’s Court.  This exhibition took part as part of the women's liberation movement.  She is recorded as Mrs Godfrey Blount exhibiting:

"373 Bell Pull in Peasant Tapestry  
374 Panel in Peasant Tapestry
377 Portiere in Peasant Tapestry"

The bell pull, a bell to summon a servant, is an indication of the social class to which the Haslemere Peasant Arts aimed their market.   



The introductory article to the Exhibition by Imre Kiralfy (Woman’s Exhibition, 1900, Earl’s Court, London, S.W.: official fine art, historical and general catalogue, Spottiswoode & Co.) provides an interesting insight to the women’s movement at the time:
“During no period in the world’s history has the progress of woman’s work been so remarkable as in that of the present century.  Although this advance is fully realised, and several attempts have been made to illustrate the progress of woman’s work, there has never been an Exhibition dealing adequately with this great subject.  The advance of woman in the fine arts, in education, in refined and beautiful workmanship, in inventions, her studies and devotion in nursing, and her softening influence, which has penetrated into almost every profession, elevates the nineteenth century in the memorable record of the world’s history.  It is an apparent fact, particularly when we turn to literature, that the work by woman during the last hundred years greatly exceeds anything accomplished by her in all previous times.  UI is, therefore, but fitting and just that woman’s work should be represented in a worthy manner, at the close of this century, by a commemorative Exhibition, the first of its kind ever held. 

…Nothing is more interesting than to trace, through all its vicissitudes, the lengthy course of laws and customs which have slowly raised woman from a condition of abject slavery to a position of social and civil equality…

…The day is passed when Woman, inspired by the necessities of a barbaric or warlike age, could repudiate the weakness of her sex, and contend with man on the field of battle.  Christianity and civilisation have taught her to renounce such ideas, and to assume another and a more glorious duty..

The new mission is symbolised by the name of Florence Nightingale, its originator, its apostle, and its example.  Words can scarcely express the great debt of gratitude we owe to this lady, who, by her generous and heroic labours, has given up her whole life to the promotion of humane work, to the amelioration of the condition of our soldiers, to the improvement of hospital organisation.
….Royalty has had many bright representatives in history, but it remained for this century to give birth to the noblest of all – Victoria, the greatest and most honoured of Sovereigns.  …Her monumental work and mighty influence have not only benefited the one-fourth of the women on earth over whom she rules, but all other nations over which it is spread.  No sooner had she ascended the throne than a complete revolution for the advance in education, science, and culture took place which resulted in the great progress of literature, arts, industries. And legislation which have glorified her reign and made her era unparalleled in history.”
Committee Members,
Woman's Exhibition, 1900, Earl’s Court, London, S.W.:
official fine art, historical and general catalogue, Spottiswoode & Co.

The prominence of duchesses, marchioness, countesses and ladies on the committee list is quite striking.  In the introduction to the Applied Art Section Tessa MacKenzie wrote “Women have at all times worn Tapestries, and here we have an example of a remarkable Tapestry design as well as executed by a woman, i.e. Mrs Frida Hansen, and an example of the work being done in Bushey by Miss Clive Bayley….

It is therefore satisfactory to realise that there is a greater field for woman’s capacity than she has, till of late years, had, and the present Exhibition may justly be looked upon as having opened the eyes of the world to her ability to succeed wherever she competes with men.”


It is disappointing to not see Ethel’s Blount tapestry being highlighted in this article.  However it is useful to have the names of tapestry work by other artists of the time.  Frida Hansen (1855-1931) was a “Norwegian textile artist in the Art Nouveau style…several of her weaving designs considered among the best made in  recent European textile art.” (Wikipedia).  Miss Clive Bayley was from The British and Irish Spinning and Weaving School.  The Art Journal (1899) reported that Bayley’s work “strikes one as a genuine attempt at art of a homely kind.  The most ambitious effort of the children working there is a reproduction in tapestry of one of Fra Angelico’s frescoes.  Failing the possibility of obtaining for the purpose designs by competent artists, this is about as good a source as Miss Bayley could have gone to.”

Frida Hansen tapestry,
Fantasiblomster, portiere, 1903
The National Museum, Oslo
Frida Hansen tapestry,
Melkeveien, 1898
The National Museum, Oslo



Miss Clive Bayley's tapestry loom,
The British and Irish Spinning and Weaving School,
The Art Journal, 1899


Tuesday, 9 January 2018

Humanitarian craftswomen sought

The Herald of the Golden Age (August 1902) the following advert:

“A GENTLE CRAFT

Mr Godfrey Blount, of Haslemere, Surrey, is going to try an experiment in wood carving on a new style and he would like to hear from any humanitarian craftswomen who are interested in the subject.

The school that he suggests would be conducted on Fruitarian lines.

The more that we can combine practical arts and science and agriculture and industries of every sort with our humane ideals the better it will be for all, but new experiments must be well and carefully thought out.


Those who wish to learn the details of the scheme should direct to the promoters of this Peasant Art Industry."

The Herald of the Golden Age, August 1902

Saturday, 6 January 2018

Our Daily Bread by Godfrey Blount with Pictures

From The Vineyard, March 1913.  The illustrations to this poem have parallels with Blount's other illustrated song, 'The Song of the Sower' shown in a previous post here.


When the seeds are sown
  They quicken all together,
In soothing showers, and sun,
  And wind and wintry weather.

Our Daily Bread by Godfrey Blount

When the green blades sprout
  From their purple prison,
Little song-birds shout,
  “Jesus Christ is risen.”
Our Daily Bread by Godfrey Blount
When kind people walk
  Where the corn is yellow,
Every sturdy stalk
  Stoops to kiss his fellow.

Our Daily Bread by Godfrey Blount
When the harvest heaves
  With many a golden gable,
All shock-headed sheaves
  Praise God who spreads the table. 

Our Daily Bread by Godfrey Blount

                                                            Give us this day our daily bread,
  And daily honest labour,
That every creature may be fed,
  And learn to love its neighbour.
Our Daily Bread by Godfrey Blount



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