Kimberly Randall
A Recipe Book for DyestuffsIn the Textiles collection is a wonderful example of a dyer’s record book for printed textiles. The book has special significance as it was the personal property of Edmund Barnes, a textile dyer and printer from northern England. Barnes was working at an unspecified print works, probably in the early 1820s, when he began recording his dye recipes. sample book, dyes, Swatch |
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English Flowers in FashionAn embroidered waistcoat from the Greenleaf collection is a fine example of English aristocratic style from the late eighteenth century. Although France dictated the fashionable silhouette for a man’s suit, which consisted of a coat, waistcoat and knee breeches, the English made subtle changes that allowed for more ease and comfort. The lifestyles of French and English aristocrats can explain the differing attitudes toward courtly dress. waistcoat |
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The Obsidian SerpentThere are hundreds of embroidered samplers in the Textiles Department – they are a collection strength spanning several centuries and many countries. My favorite samplers are those from Mexico for they often show the convergence of European and indigenous cultures in their motifs and designs. While there are a number of beautiful samplers from Mexico, only one has an intriguing figure known as the Obsidian Serpent. Mexico, samplers |
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Bluette by Atelier MartineBluette is a textile by an unknown designer made in the design school Atelier Martine. The school was founded by Paul Poiret (1879 – 1944), a celebrated Parisian couturier known for exotic fashions inspired by the Middle East and Asia. Named for his daughter, Atelier Martine embraced the notion of an unstudied, instinctive creativity. Poiret opened Atelier Martine in 1912 following a European tour where he was greatly impressed by the printed textiles of the Wiener Werkstätte of Vienna. textile, Atelier Martine, Paul Poiret, Wiener Werkstätte, Louis Rorimer, flowers |
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Keeping Warm: A Pennsylvania CoverletThe American woven coverlet presents an appealing visual record of the patterns and designs of the eighteenth and nineteenth centuries. The seemingly simple geometric elements come together in a boldly graphic way that resonates with many collectors today. This particular coverlet, acquired by Cooper-Hewitt in 2010, was most likely made before the arrival of the Jacquard attachment – a special mechanical loom component from France that was made of a series of punched cards. Invented in 1806, it was widely available in the United States by the early 1820s. coverlet, Jacquard, Pennsylvania, woven, snowball, pine tree |
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Dude Never Would Be MissedWhile researching one of our printer-dyer record books for the Cooper-Hewitt exhibition Multiple Choice: From Sample to Product, I discovered a curious fabric swatch on page 105. record book, textile printing, swatches, fabric, American, opera, 19th century |
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Lace in ConcertThe cravat is an early version of a man’s necktie. It could be a plain piece of white linen tied around the neck, with the free ends falling below the throat. A gentleman’s cravat would have been decorated with fine lace, as lace was especially fashionable for men in the 17th century. During this period, the greatest lace makers were working in Italy and Belgium. France, however, wished to create a competing industry that would stop the costly imports of lace. cravat, France, needle lace, fashion, 17th century, Charles LeBrun, Jean Bèrain the elder |
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A Gift of GlovesFor centuries, European rules of etiquette allowed a woman to receive gloves as a gift from men other than her husband. The practice was so widespread that novelty became an important consideration for the gift-giver when making his selection. Light-colored printed gloves enjoyed popularity with women in early 19th-century Europe, but this pair’s eye-catching design is particularly noteworthy for its unusual optic effect. gloves, spain, leatherwork, intaglio, 19th century, hand-made, craftsmanship |
