Presents a selection of more than 100 furnishing textiles and
designs that range from a spectacular printed hanging designed by
the Wiener Werkstatte artist, Dagobert Peche, between 1911 and
1918, to a series of dramatic woven, silk and metal wall coverings
Les Colombes designed by Henri Stephany for the 1925 Exposition
Internationale des Arts Decoratifs et Industriels Modernes. The Art
Deco period is well represented by the works of Raoul Dufy, Alberto
Lorenzi, Robert Bonfils, Alfred Latour, Emile Alain Seguy and Paul
Dumas. Although the majority of pre-Second World War textiles are
of French origin, the exhibition also includes some rare British
furnishing fabrics from the 1930s, in particular the iconic and
very elegant Magnolia Leaf by Marion Dorn, woven in off-white and
silver viscut by Warner & Sons in 1936. During this period,
Britain attracted talented European designers, such as Jacqueline
Groag and Marian Mahler who had trained with Josef Hoffmann at the
Vienna Kunstgewerbeschule. They became highly influential in
creating a 'New Look' that took hold of Britain after the
austerities of the Second World War. 'The Festival of Britain,'
held in 1951, was epitomised by Calyx which launched the career of
its designer, Lucienne Day and is now considered to be a landmark
of post-War design. So great was its success that several versions
were produced as well as contemporary copies, all of which are
reproduced here in spectacular colour. Two great textiles from the
1950s - Seaweed designed by Ashley Havinden in 1954 for Arthur
Sanderson and Grecian by Alec Hunter in 1956 for Warner & Sons
- bridge the gap between the spirit and elegance of the inter-War
period and the new 'contemporary' look of the 1950s. Britain
maintained its pre-eminent position in textile design throughout
the 1950s, 1960s and early 1970s. This was because firms like
Edinburgh Weavers, Heal & Sons and Hull Traders and museums
such as the Whitworth Art Gallery in Manchester (the centre of the
British textile industry) worked hard at integrating and promoting
great design, often by well-known artists within the industry.
Among the artists who worked with Edinburgh Weavers were Marino
Marini, Victor Vasarely and Alan Reynolds. Britain was not alone in
applying art to industry. An elegant example of Op Art is the work
of the German artist, Wolf Bauer, whose 1969/70 designs for one of
the leading American manufacturers, Knoll Textiles, is a highlight
of this book.
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