Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
The history of an entrepreneurial family whose work influenced followers of the Arts and Crafts Movement, Gothic Revivalism, Art Needlework and Aestheticism
LONGLISTED for the Arnold Bennett Society Book Prize 2020
This book is a richly illustrated history of the Wardle family of Leek, Staffordshire, which rose to prominence in fine textile production in the second half ofthe nineteenth century. At its core is an object-centred exploration revealing how an entrepreneurial family responded to complex international factors. Beautiful dyed, printed and embroidered textiles were created in Leek using traditional craft skills. Followers of the Arts and Crafts Movement and Gothic Revivalism, as well as Art Needlework and Aestheticism, benefited from the family enterprises that flourished despite rapid industrialisation.
The Wardle family's rich legacy is played out against the backdrop of the Anglo-Indian silk trade. Thomas Wardle travelled in India and integrated Indian designs into British silk production. His work attracted William Morris, Walter Crane and A. L. Liberty, among others, and their designs, printed by Wardle, were internationally applauded. Elizabeth Wardle, embroiderer, worked with many major architects such as R. N. Shaw, G. G. Scott Jnr and J. D. Sedding.Lavishly illustrated, this book will be of interest to those interested in textile and fashion history and the history of the Arts and Crafts movement, as well as the relationship between the British Empire and the Indian subcontinent.
BRENDA M. KING is a textile historian and holds the Chair of the Textile Society. She is also a freelance lecturer in the History of Design and Museum and Heritage Studies and the author of Silk and Empire (2005 and 2009) and Dye, Print, Stitch: Textiles by Thomas and Elizabeth Wardle (2009).
LONGLISTED for the Arnold Bennett Society Book Prize 2020
This book is a richly illustrated history of the Wardle family of Leek, Staffordshire, which rose to prominence in fine textile production in the second half ofthe nineteenth century. At its core is an object-centred exploration revealing how an entrepreneurial family responded to complex international factors. Beautiful dyed, printed and embroidered textiles were created in Leek using traditional craft skills. Followers of the Arts and Crafts Movement and Gothic Revivalism, as well as Art Needlework and Aestheticism, benefited from the family enterprises that flourished despite rapid industrialisation.
The Wardle family's rich legacy is played out against the backdrop of the Anglo-Indian silk trade. Thomas Wardle travelled in India and integrated Indian designs into British silk production. His work attracted William Morris, Walter Crane and A. L. Liberty, among others, and their designs, printed by Wardle, were internationally applauded. Elizabeth Wardle, embroiderer, worked with many major architects such as R. N. Shaw, G. G. Scott Jnr and J. D. Sedding.Lavishly illustrated, this book will be of interest to those interested in textile and fashion history and the history of the Arts and Crafts movement, as well as the relationship between the British Empire and the Indian subcontinent.
BRENDA M. KING is a textile historian and holds the Chair of the Textile Society. She is also a freelance lecturer in the History of Design and Museum and Heritage Studies and the author of Silk and Empire (2005 and 2009) and Dye, Print, Stitch: Textiles by Thomas and Elizabeth Wardle (2009).
Price: $60.00
Pages: 254
Publisher: Boydell & Brewer Inc.
Imprint: Boydell Press
Publication Date:
15 March 2019
Trim Size: 9.21 X 6.14 in
ISBN: 9781783273959
Format: Hardcover
BISACs:
DESIGN / Textile & Costume, Fashion and textile design, ANTIQUES & COLLECTIBLES / Textiles & Costume, HISTORY / Europe / Great Britain / General, Textile artworks, Antiques, vintage and collectables: carpets, rugs and textiles, Antiques, vintage and collectables: clothing and accessories
A welcome addition to literature already available on textile history of the late nineteenth and early twentieth centuries.
A valuable addition to the history of textile production.
Required reading for those interested in textile and fashion history [and] the Arts and Crafts movement.
Including detailed narrative, historical black-and-white photographs, and color plates of gorgeous silk and gold embroideries, this volume fully documents the Wardles' important roles as entrepreneurs and community leaders. Recommended.
King's account is notable for its close descriptions of the original textile [Bayeux Tapestry] in France as well as the copy created in Leek. She examines both in great detail and provides an eminently informative narrative [.]
— PAUL ANDERTON
Brenda M. King's richly illustrated historical account shifts the focus from Thomas Wardle to his wife, family and wider social and cultural milieu.
It is a valuable resource and will, hopefully, lead to the discovery of further archive material about the Leek embroiderers and the work of the intriguing Wardle family.
This book belongs on the bookshelves of those interested not only in the Wardle family, but also in architecture, textile dying and printing, and embroidery of the Victorian era-the time of the Arts and Crafts movement, Gothic Revivalism, and the Aesthetic Movement.
— Maureen Daly Goggin
A valuable addition to the history of textile production.
Required reading for those interested in textile and fashion history [and] the Arts and Crafts movement.
Including detailed narrative, historical black-and-white photographs, and color plates of gorgeous silk and gold embroideries, this volume fully documents the Wardles' important roles as entrepreneurs and community leaders. Recommended.
King's account is notable for its close descriptions of the original textile [Bayeux Tapestry] in France as well as the copy created in Leek. She examines both in great detail and provides an eminently informative narrative [.]
— PAUL ANDERTON
Brenda M. King's richly illustrated historical account shifts the focus from Thomas Wardle to his wife, family and wider social and cultural milieu.
It is a valuable resource and will, hopefully, lead to the discovery of further archive material about the Leek embroiderers and the work of the intriguing Wardle family.
This book belongs on the bookshelves of those interested not only in the Wardle family, but also in architecture, textile dying and printing, and embroidery of the Victorian era-the time of the Arts and Crafts movement, Gothic Revivalism, and the Aesthetic Movement.
— Maureen Daly Goggin
Introduction
The Wardle Family and its Circle
The Business of Stitch
Stitching Narrative: Leek's Facsimile of the Bayeux Tapestry
Stitch Meets Stone
Rediscoveries and Revelations
Appendix
Bibliography
The Wardle Family and its Circle
The Business of Stitch
Stitching Narrative: Leek's Facsimile of the Bayeux Tapestry
Stitch Meets Stone
Rediscoveries and Revelations
Appendix
Bibliography