Monday, 7 December 2015

MoDA and the Festival of Britain

Sophie Rycroft, MoDA's new Collections Assistant, finds out more about some of the interesting booklets and pamphlets in the museum's collections:

Ninety-five pamphlets from our collection here at the Museum of Domestic Design and Architecture (MoDA) have received some TLC and are now back and ready to be explored. Following the much-needed conservation work, the pamphlets can now continue to be a vital resource for all.

The eclectic collection focuses on domestic design, interiors and textiles, but also includes subjects as varied as zoology and alpine plants.  

Amongst the collection is the programme for the Southbank Exhibition, part of the Festival of Britain, held in 1951. This extensive festival encompassed exhibitions relating to a great variety of themes, including Britain’s landscape, architecture, art, photography, industry and science. What better way to signal an optimistic look forward for a post-war Britain, having suffered years of austerity, than a celebration of all things British?

The pamphlet commences with the grand statement ‘all through the summer, and all through the land, [the Festival’s] spirit will be finding expression in a variety of British sights and a great range of British sounds.’ (p6)

South Bank Exhibition; A Guide to the Story It Tells, BADDA2594, Museum of Domestic Design and Architecture

The Festival of Britain programme and associated materials are particularly relevant to MoDA. Firstly, MoDA holds the archive of mid-century designer Charles Hasler (1908-1992) who was chairman of the Typographical Panel for the Festival. A great deal of attention was paid to the visual identity of the exhibition to celebrate advancements in contemporary graphic design. Hasler was also involved in the production of what we would now call branding guidelines for the use of logos, colours and fonts. The colour scheme of blue, red and white further contributed to the desire to re-construct National identity for Britain.

Photograph of Staff Designers at the Festival of Britain, 1951, CH/1/1/5, Museum of Domestic Design and Architecture. In the right foreground is Charles Hasler 
Display letters designed for the Festival of Britain, 1951, CH/1/1/1, Museum of Domestic Design and Architecture

Secondly, the Festival had a lasting effect particularly in terms of domestic design. The cheerful and contemporary ‘Festival of Britain Style’ found its way into ordinary homes, perhaps as a way for individuals to replace furnishings they associated with tough times during the Second World War. The Festival sparked a frenzy of home improvements in the 1950s, with many adopting styles exhibited at the Festival itself. For example John Line’s 'Limited Editions' wallpaper collection was brought out to coincide with the Festival. The example below shows an abstract design which was displayed in a room set in the Homes and Gardens Pavilion. It was used as part of Robin Day's scheme for a 'low cost living room'.

John Line’s ‘Limited Editions’ wallpaper, SW2082, Museum of Domestic Design and Architecture

Magazine culture was also an important source of inspiration for many home-owners during this period. Magazines such as ‘Practical Home Decorating on a Small Budget’ contributed to, and encouraged, affordable home improvements through providing practical and stylistic suggestions. 

Practical Home Decorating on a Small Budget, BADDA1339, Museum of Domestic Design and Architecture

Herbert Morrison, the former leader of the London County Council, described the Festival as the British showing themselves to themselves - and the world'. It seems that it was this sense of pride that the British sought to emulate in their own homes. 

To find out more about MoDA’s Charles Hasler archive you may be interested in our new publication, 
Charles Hasler Sends his Greetings, available here.

Wednesday, 25 November 2015

Thirtiestyle publication relaunch

MoDA's Business Manager, Claire Isherwood, announces the re-release of one of the museum's most popular publications: 

One of the best selling publications from the Museum of Domestic Design and Architecture,  Thirtiestyle: Home decoration and furnishings from the 1930s has been re-printed and is now available to order online here 

Thirtiestyle is a fascinating and colourful guide to all aspects of decoration and design in the 1930s home. A compendium of contemporary illustrations and photographs, the book shows the choices available to consumers during this period. Author Katie Arber drew on MoDA’s extensive collections of retail and trade catalogues, domestic magazines and household manuals to produce a vibrant and beautifully illustrated guide to the 1930s interior.  The book provides comprehensive coverage of the features of a home, including detailed sections on: bathroom and kitchens, fixtures and fittings, furniture, wallpapers and paints, carpets, cushions and upholstery, fireplaces and heating, lighting and finishing touches. Each area is covered in a way that is highly informative while at the same time hugely enjoyable to read.

If you are interested in reading more about the 1930s in MoDA's collections take a look at this guest blog post by recent MA graduate Ellen Martin, of Brighton University.  If you would like to make an appointment to view similar items or any other material in our collection please email

ThirtiesStyle is just one of a whole range of publications produced by MoDA.  Other titles in the series are: Turn of the Century Style, Fiftiestyle, Sixtiestyle and Seventiestyle. All of these - plus the Museum's other publications - can be purchased from MoDA's online shop and postage is free! 

For Trade Enquires contact Central Books Ltd 

Friday, 25 September 2015

Charles Hasler Send his Greetings

MoDA's Head of Collections, Zoe Hendon, reveals the detail of MoDA's latest publication.

This week the Museum of Domestic Design and Architecture held a launch party for our new book Charles Hasler Sends His Greetings.  We were pleased to be able to hold the event at the House of Illustration in Kings Cross, and we had a great turnout, despite the torrential rain.  Thanks to all who came along!

Charles Hasler Sends His Greetings is a taster of the many wonderful things contained in MoDA's Charles Hasler collection.  Hasler (1908-1989) was a typographer and graphic designer. His collection reflects his magpie tendencies and wide-ranging interests: it contains all kinds of printed and paper ephemera, from Victorian postcards to examples of work by big-name contemporaries such as Abram Games and Edward McKnight Kauffer.  (We've featured Christmas cards and notgeld (banknotes) from Hasler's collection on this blog before).

Professor Phil Cleaver, Middlesex University 

At Monday's launch event we were privileged to be joined by Professor Phil Cleaver, who opened the proceedings; and by Hasler's daughter Caroline, who provided some fascinating background to her father's life. The book's author, Jane Audas (freelance writer, curator and blogger), also gave a short preview of its contents and explained about Hasler's involvement with the Festival of Britain.

Caroline Hasler (left) sharing some examples of her father's work

As Professor Cleaver pointed out, the Hasler collection is a fabulous resource for students since it shows  something of the process of design (the messy, the unfinished, the work in progress) as well as the final product.  It's fascinating as evidence of the way graphic designers worked in the pre-digital age; everything had to be drawn by hand, and the collection as a whole was built up to meet the need for visual reference long before Google and Pinterest became available.  And though Hasler is not well known as a designer, he was certainly associated with the best designers of his times, and his collection therefore includes rare examples of greetings cards, invitations and magazine covers by his friends such as Paul Nash, Barbara Jones, Edward McKnight Kauffer and Abram Games.  

We hope the book is the beginning of further research into both Hasler himself and the many fascinating aspects of his collection. 

Charles Hasler Sends His Greetings is available to order from MoDA's online shop

Charles Hasler Sends His Greetings: the Ephemera Collection of a Mid-Century Designer

Foreword by Phil Cleaver, introduction by Zoe Hendon, essay by Jane Audas. 

Published by the Museum of Domestic Design and Architecture, Middlesex University, Sept 2015.

Format: Hardback, 148.5mm x 210mm, 57 colour illustrations

Price: £15

ISBN: 978-0-9565340-5-7

Wednesday, 2 September 2015

Collecting Colour

Middlesex students studying the Creative Non-Fiction module on the BA Creative Writing with Journalism programme visited the Museum of Domestic Design and Architecture, led by Dr Josie Barnard, Senior Lecturer in Creative Writing and Journalism.
This guest blog post is by Sylvia Ikua, a student who visited the museum as part of this session and was inspired to write about a very special object from our collection.

I often refer to this intriguing piece simply as “the dye book” when speaking about it with Curator, Sim Panaser, at the Museum of Domestic Design and Architecture (MoDA).  The book is a sort of ‘how to’ for dyeing fabric.  It contains over one hundred pages, filled with more than two hundred colour samples on fabric swatches.  The varying colours are due to the use of natural and chemical elements whose ingredients have been methodically pencilled in.     

Dye Book,1894, badda3192, Museum of Domestic Design and Architecture 

Mystery surrounds the book.  The owner of the book is believed to have been an Oswald Gunnell. Mr Gunnell’s name appears handwritten inside the front cover.  Some of the information currently held about the book is owed to the examination and research that has been conducted into it.  It has been presumed that the book is the result of Mr Gunnell’s hobby.  The book’s informal exterior does resembles a very large journal or crafts book. 

The blues, badda3192, Museum of Domestic Design and Architecture 

However, wanting to find out more about the owner of the book, Curator, Sim Panaser, conducted further research about Oswald Gunnell.  Sim discovered an article co-written by Oswald Gunnel titled ‘The Colouring Matter of Querbracho Colorado’, published between 1878 – 1925 in The Journal of the Chemical Society.  The article extract indicated an investigation into the dye properties of Querbracho Colorado, a tree found in “the northern part of the Argentine Republic”.  Interestingly, the article also refers to “Alum”, an ingredient which was noted on page seventy-four of the dye book.  The article was co-written by Arthur George Perkin.  Mr Perkin is thought to be the son or a relation of George F. Perkin who established G.F Perkins and Sons, a dye works in North West London.  One of his sons, William Henry Perkin was mentioned and pictured in the first chapter of The Colour Revolution by Regina Lee Blaszczyk.  Blaszczyk notes that while studying, W.H Perkin “accidently synthesized a deep purple dye from coal waste” helping to “establish the field of synthetic organic chemistry, and ushered in an era of rainbow colors”. 

Another fascinating discovery was a patent under Oswald Gunnell’s name, granted by the United States patent office in July 1928, for a “label or tab for use with goods which have to be dyed”.  The connection between the name and an invention related to dyeing suggested this was the same Oswald Gunnell who had produced the book at MoDA. 

Children of the light...a note found inside the dye book

The book’s potential historic connections add to the element of intrigue that stir up when browsing through its dated, crisp pages.  In the book there are a few torn pages with ash near the binding and what resembles a recently clipped on white paper with writing which resembles a poem or incantation by an unknown author.  Glancing at the book, it is these small details that drew me in and continue to make me wonder about its creator and journey.    

A big thank you to Sylvia for writing this blog post. Sylvia graduated from Middlesex University this summer and we wish her all the success for her future.  

Friday, 3 July 2015

The Value of the Everyday

This week's guest blogpost is by Ellen Martin, who recently completed an MA in Design and Material Culture at Brighton University.

Last year I completed my MA in History of Design and Material Culture at the University of Brighton – and the wonderful collections at the Museum of Domestic Design and Architecture (MoDA) were crucial to my research process throughout.

My dissertation – ‘Furnishing Fabrics for the Suburban Home in the South East of England, 1930 – 1939’ – sought to bridge the gap between histories of the ‘ordinary’ suburban home and of textile design in the 1930s. Existing histories of 1930s furnishing textiles have favoured the modern output of pioneering artist-designers and studios, such as Edinburgh Weavers. In reality however, these modish fabrics would have been used to furnish the homes of a fairly wealthy and style-conscious minority!

So how were these modest homes really furnished? What fabrics, patterns and colour palettes really appealed to the new residents of Barnet and Hayes, Edgware and Enfield? Were modern styles adopted, or did loyalty lie with traditional pattern?

Before too long I recognised that mass-produced furnishings sold at lower market levels don’t merit much space in today’s museum archives. It’s a sad fact that designer names take precedence. Existing everyday textiles are particularly difficult to source as they are so perishable. My research would warrant some more shrewd investigation, using secondary sources to build an image of the market.

This is where MoDA’s collections prove so valuable. The ordinary, everyday and indeed domestic are celebrated here! It was through the advertising material, trade catalogues, exhibition catalogues, estate agents' publicity and domestic photography of the period that I could build more realistic picture of the market. The archive also comprises a fantastic local history resource – one that paints a rich picture of North London’s twentieth century suburbs.

Illustration of ‘The Dining Room’ in Wates’ ‘Wakefield’ house,
exhibited at the Ideal Home Exhibition. 1938.
Exhibition catalogue. Wates Guaranteed Houses: Olympia 1938.
© MoDA. Object number BADDA4619.

This image is from a promotional brochure made by Wates construction company, who built a huge amount of suburban housing outside London in the 1920s and 30s. They promoted this imagery of newly-built suburbia to prospective buyers – and as can be seen, the curtains here suit the domestic scene – plain and pretty. The frilly pelmets encase leaded casements windows typical of such homes. The image below is a photograph of a suburban show-home.

Living room interior of Messrs Edmondsons Ltd. show home, 
furnished by Henry Haysom on the Meadway Estate, Southgate, North London. c. 1930. Photograph.
 © MoDA. Object number COP3.
Again, the styling is traditional and typically ‘English’ – damask covers the settee and thin chintz curtains line the windows. In this way, a domestic aesthetic was already constructed, one to which new residents could easily conform. Construction firms even struck deals with local furnishers and advertised their wares in show-homes.

Trade catalogues and advertisements paint a similar picture. This trade brochure from London-based furnishing store Waring & Gillow presents a range of furnishing fabrics to suit a range of budgets. There are no modern styles on offer here – instead, traditional silk damasks, floral printed cretonnes, chintzes and stripes.

"Warings Great Household Event" brochure, c.1915-1930. MoDA. BADDA149.
Preston-based firm John Hawkins & Sons Ltd. promised to bring ‘the Mills to the Multitude’ with their mass-produced fabrics sold at modest prices. Hawkins specialised in cheap printed curtain and dress fabrics and commissioned designs from the Silver Studio throughout the 1930s. Catering to popular taste, most of their fabrics in this decade were floral, traditional and most importantly, ‘charming’. They often used oranges, browns and beiges popular in the thirties and known as ‘Autumn Tints’.

‘Cretonnes & Casements’. 1933. Trade catalogue. Hawkins Household Catalogue.
© MoDA. Object number BADDA71.
As can be seen, abstract and geometric shapes were incorporated into floral design in an attempt to adopt the modern trend. This diluted fusion of styles became known (often disparagingly) as ‘modernistic’. It is also interesting to compare some of the Silver Studio’s designs (held in the MoDA archive) for similar furnishing fabrics from this period. The design below, for example, designed by George H. Willis in 1932, also combines angular shapes with more palatable floral sprays.

Design for furnishing tapestry by George H. Willis for the Silver Studio. 1932.
Charcoal on tracing paper.  64 x 47.5 cm. © MoDA. Object number SD1898.
These examples just touch the surface, but MoDA’s collections offer the design historian valuable insight, not only into the designer’s world but the consumer’s too. What I think is important, is that these objects testify to popular taste, rather than just the cultivated and cultured.

We're grateful to Ellen for this thoughtful and perceptive piece about popular tastes in furnishing in the 1930s.  

Friday, 5 June 2015

Francesca: My first week

Francesca Stotter, a Middlesex University Law Undergraduate, talks about her first week working as a Temporary Collections Assistant at MoDA.

I’m at the Museum of Domestic Design and Architecture (MoDA) for two months as a Collections Assistant, helping the MoDA team with the day-to-day running of the museum by carrying out administrative tasks and offering a hand wherever I am needed. Before starting at MoDA this week, I had just come to the end of the second year of my three year undergraduate law degree at Middlesex University.

Working at MoDA is completely different to anything I have done before but I have already begun to enjoy it immensely, as there is always something to be done or a new design I can observe. The team have been very open and welcoming towards me and I already feel like a team member on my third day.

Whilst here, other than wrapping my head around the documentation and cataloguing systems,  I have had a chance to see some of the Silver Studio Collection but have for the most part been working with the Charles Hasler collection, whilst the team make preparations for the upcoming book that will be launched in September. Both collections are amazingly beautiful and intricate in detail, spanning over hundreds of works in different formats, I hope to see and learn more of them over the next two months. 

On my first day, I was covering and sorting the Good Housekeeping magazines that span back over fifty years, showing how much domestic design and architecture have changed over those years and just how influential it is on households and society. I was pleasantly surprised by just how much is stored in the archive here at MoDA and constantly find a new book, textile or design that catches my eye and has me in awe, the original designs, textiles and other items kept here are truly amazing. Before working here, I had no real grasp on where modern designs and ideas for home decorating actually came from, but it has been an insight to see all of these original designs and learn about them.

I have no prior work experience at a museum, but I often spend a lot of my free time in them. Working here is giving me a new and fresh insight into the world of museums and how they work behind the exhibitions and shows.  I can only imagine that I will continue to enjoy this job until I have to leave in July and I hope to get some legal work before starting again at university in the autumn. I feel that this job will give me a unique perspective that will help me when I go on to practice commercial law. Working here has given me an insight into the workings of a museum and also into the interests and needs of potential clients that I may encounter in the future.

Friday, 29 May 2015

Musings of a Wallpaper Rookie

Middlesex University students studying the Creative Non-Fiction module on the BA Creative Writing with Journalism programme recently visited the Museum of Domestic Design and Architecture, led by Dr Josie Barnard, Senior Lecturer in Creative Writing and Journalism.

This guest blog post is by Catherine Rose Scott, a student who visited the museum as part of this session and was inspired to write about a very special object from our collection, it was written as part of her work for the Creative Non-Fiction module. 

I can't claim to understand wallpaper very well. Even though I know that it is durable and has an impressive variety of patterns, the idea of essentially glueing paper to a wall is alien to me. Maybe this comes from growing up in Port Elizabeth, South Africa, where wallpaper had fallen completely out of fashion by the time I was born. To my friends and me, it was just a word in the dictionary, at which we might have glanced while looking for more interesting terms like “Walpurgis night” and “walrus moustache”.

With this in mind, I stand in the Museum of Domestic Design and Architecture, holding a wallpaper 'sandwich', as its label tells me. 'Sandwich' is a fitting word for the twelve-layered chunk of wallpaper, ripped from a dormitory wall of Peterhouse Cambridge, the oldest college of the university. After accumulating layers for over two hundred years, the piece was removed during renovation in 2001 and donated to the museum two years later. Today, it smells sharply of decayed starch, like a great-grandmother's old house. It is brittle, and I must take care when handling its jagged edges.

All layers of the wallpaper sandwich from a dormitory in the university college, Peterhouse, Cambridge, salvaged ca.1999, Museum of Domestic Design & Architecture, (Badda4869)

For more specific information, I must look at a box of separated layers. Each sheet has been covered with a plastic sleeve and labelled, with approximate dates, styles and production quality. The oldest layer is described as handmade paper from the late eighteenth century, while some can be given even more specific information, particularly 'Mallow', a blue and cream floral pattern designed by Kate Faulkener in 1879. For many years, a series of college students over the years had moved into a room and decorated it to their tastes. Looking at the sandwich, I know that these twelve people came from different backgrounds and eras. Some chose cheap, low quality paper while others could afford the finer, more exclusive varieties. I find the layer with a lattice of ivy leaves dating from 1905 to 1920 particularly attractive. Even after a century, the pattern's detail still evokes the feeling of touching smooth, cool ivy leaves.

The final layer is unlike the others: plain white wood-chip paper supposedly popular in the late twentieth century. I find it coarse and uninviting, like a hastily primed canvas. Even if it was fashionable for its time, it feels more like a mask covering the rich history beneath it.

Fortunately, the mask didn't work, and the many layers once again get to see the light of day. They could have been discarded without a second thought, but somebody recognised them as pieces of mankind's history.

Not all of the wallpaper layers are equally visible. Some can just barely be seen, and looking at them is much like peering through tiny windows into the lives of their owners. This comparison to windows occurs to me specifically because I am also looking through a window into a fashion that I had missed completely. I might not be familiar the purpose of wallpaper, but what I can see is a physical record of the evolution of our culture. This fragile chunk of processed plant matter in my hand is a microcosm of society.

Perhaps my new understanding of wallpaper jumps to too many abstract conclusions, and maybe it is just a quick fix to hide cracks in your wall. But even if I won't be plastering it over my walls in the near future, I am happy to be holding this wallpaper sandwich. I can do this because we humans, with our libraries and museums, are creatures with an urge to chronicle our time on earth. It has outlived many fashions and even some of its owners, and it is satisfying to know that it is getting the respect that it deserves.

A big thank you to Catherine Rose Scott for writing this evocative blog post. Catherine has just finished the final year of her BA Creative Writing and Journalism and we wish her all the success for the future. 

Friday, 15 May 2015

Greetings from MoDA

Claire Isherwood, MoDA Business Manager, highlights the products of one of our Licensees.

The Almanac Gallery, a greetings card company, has worked with MoDA for many years to produce an attractive range of greetings cards for all occasions drawing from designs in our collection. A small range of these cards are now on sale through our online shop.

A selection of the MoDA cards from The Almanac Gallery 

Nicole Mendlesohn, Art Editor, at The Almanac Gallery visits the MoDA Collections Centre and chooses a shortlist of designs for new ranges. Nicole has visited on many occasions but there is always something different to see or a design is seen in a new light. Some licensees have a particular theme or style in mind considering current trends and consumer tastes but occasionally something they are not looking for fits the bill.

Although in a digital age it is possible to license images without seeing the original design, it is useful to see the scale of the design. Of course there is also something appealing about sifting through hundreds of designs to find the perfect one. Many of our Licensees do not use the images as they are and will crop the image to use a detail, sharpen the designs or change the background colour. See below the original Silver Studio design with the Almanac Gallery greeting card where they have amended the design to bring it more up to date with current tastes and a broader audience.

The original MoDA design and the card with a pale blue background

Another example of original design and this time with a bright yellow background 

MoDA's online shop also includes a range of publications drawn from the collections. Good news is that all products now have free postage. We are considering adding more items to our online shop so please do share with your friends and family or let us know what you think.

If you are interested in using designs from MoDA's collections for commercial purposes please contact MoDA's Business Manager, Claire Isherwood (

Friday, 1 May 2015

Tracing Paper

MoDA's Preventative Conservation Officer, Emma Shaw, shares her knowledge of tracing papers

Last week I attended a two day Conservation of Tracing Paper Workshop at Tate Britain lead by Hildegard Homburger, a paper conservator from Berlin with a great deal of experience in the conservation of architectural designs and art works on tracing paper.  The course was attended by conservators from a range of institutions including: Ireland’s National Libraries, the Munch Museum in Oslo, RIBA at the V&A, and the Tate, as well as student conservators and conservators in private practice.

Here at MoDA, we have a large quantity of designs - drawings paintings and sketches for interior furnishings and dress fabrics made on transparent or semi-transparent papers of all kinds. In fact they probably comprise around ¼ of the estimated 40,000 designs in the Silver Studio Collection

Photograph of the interior of the Silver Studio at 1 Haarlem Road, Brook Green, Hammersmith, taken in 1967. The image shows how large collections of working designs, including those on tracing paper, were stored. Reproduced in Home Decorating Sourcebook: Designs based on the Silver Studio Collection, Mark Turner & Lesley Hoskins, 1988.

Whilst great in-roads have been made into making these items accessible for research and display over the years, there remain a significant number yet to be considered for conservation and documentation in order to make them accessible for MoDA users. This course was very useful in bringing me up to date with potential treatments that could be used on our more fragile, small scale items as and when the need arises; and also for planning projects to make our larger scale designs on tracing paper (currently rolled or folded); and to make more seriously damaged items accessible for museum documentation, or even digitisation should that become a possibility. 

First, each attendee described the kinds of tracing papers we had come across in our experience of conservators and, where relevant, discussed tracing paper collections in our respective institutions. Hildegard then lead the course candidates through the developments of techniques for processing and manufacturing the different types of tracing papers which have been used by artists, designers, scientists, mapmakers and architects since the 15th Century up to the present day.

In all conservation, being able to identify the constituents of the materials you are treating (supports and media, in the case of paper items) informs what techniques will be useful to repair damage, and which ones may be harmful to an object. In the case of tracing paper, it is particularly useful to be informed about the historic processes of production of the material, as it falls into two main types: papers impregnated with oils or resins to make them transluscent, and papers made with other techniques - for example, the use of a brief acid treatment, or simply relying on a very finely beaten paper pulp, thinly dispersed and highly calendared with the use of heavy rollers. Papers made in these different ways respond in differently when used by artists and designers, and their aging properties are quite distinctive. 

SD1454, impregnated tracing paper
SD6861 Semi-transparent 'natural' paper with pencil drawing overlaid with tracing paper painted design (acid treated)

SD12739 Dyed natural/acid treated tracing paper

SD960 acid treated tracing paper with pencil and watercolour design 

Hildegarde discussed the particular handling and aging characteristics of tracing papers that result from the ways that the paper has been made – in particular, discolouration (particularly in the case of impregnated papers), brittleness, and dimensional instability. Also, we considered the possible effects of standard and specialist paper conservation techniques for the repair, stabilisation and housing or mounting of tracing paper objects. The use of solvents and various adhesives was also covered. Hildegarde has worked with a large number of collections of tracing papers, and so, has been able to refine a range of highly specialized approaches over her long career as a paper conservator, some of which she explained and demonstrated.

SD1283 impregnated tracing paper - very typical orange/brown discoloration

SD1519 impregnated tracing paper - very typical orange/brown discoloration

A practical session followed lunch in the staff canteen, where we experimented with tear repair techniques using isinglass (fish bladder) glue, and a range of heat activated adhesives. We also tested out adhesive tape removal techniques. Then, we discussed wetting, drying and flattening techniques that are appropriate for tracing papers, and were shown a video of a technique developed by Hildegarde and her team to unroll and flatten a collection of large scale architectural plans on tracing paper.

SD14116 and SD14115 creased tracing paper 

On the second day of the course, we looked at techniques to infill missing areas in tracing papers, and practiced Hidegarde’s own technique of lining tracing paper architectural plans (not much used these days). This was followed in the afternoon by a discussion of wide range of case studies derived from Hildegarde’s experience of conserving tracing paper, and further questions from the attendees.
We all left with the samples of our work, a very informative CD containing notes and articles, a substantial biobliography of relevant articles, and a lovely mug kindly donated by James Black, the director of International Academic Projects (the course organiser).

It is particularly useful to have attended the course, and to have held our recent ‘in-conversation’ afternoon on MoDA’s tracing papers, since both events have given me the opportunity to spend a little time considering this material in detail and brought me into contact with other conservators who have an interest in, and experience of dealing with transparent papers in a range of contexts, and students researching the material. 

Friday, 24 April 2015

To Liberty and Beyond

MoDA Curator, Sim Panaser takes a closer look at some of the the designs of the Silver Studio...

Liberty is my favourite department store, so I was especially excited to find out more about the connections between the iconic store and the Silver Studio, whose collection is here at the Museum of Domestic Design and Architecture.

Liberty was founded by Arthur Lasenby Liberty in 1875 initially under the name East India House.  A hotbed for fashion, good taste and the Pre-Raphelites, it became renowned for its imported silk, in single colours and subtle hues of blues, greens and terracotta, which became known as Liberty Art Fabrics, alongside selling imported goods from what was then considered the Far East. 

Arthur Liberty understood the appetite for pattern in the late 1880s. An increasing interest in interior design, coupled with increased prosperity for the middle classes and the burgeoning popularity for what we know term the Art Nouveau style, which followed Aestheticism, saw Liberty art fabrics pop with patterns. 

Patterns for textiles were bought by Liberty from the Silver Studio.  The Silver Studio was established by Arthur Silver in 1880 in Brook Green, Hammersmith. The timing of the Studio was perfect; patterns for wallpapers and textiles were in high demand and between 1880 and 1910 the Silver Studio sold hundreds of designs in the Art Nouveau style to various clients across the world.      

Silver Studio Designs dating from late 1800s, SD3514, SD3597, Museum of Domestic Design and Architecture.  

Arthur Silver is widely attributed as designing Liberty’s famous peacock print, Hera (below) in 1887.  However although Arthur Silver is attributed as the designer, subsequent research has questioned whether this is in fact the case or whether Arthur Silver adapted the design from another peacock pattern registered in 1876.  

Sketch of Peacock Feather, Silver Studio, SD9230 and Liberty Hera Fabric, ST3935b, Museum of Domestic Design and Architecture 

The day books of the Silver Studio here at the Museum of Domestic Design and Architecture show that in 1891 the Silver Studio provided Liberty with 19 designs.  The relationship between the Studio and Liberty continued into the 1900s with female designers working for the Silver Studio providing Liberty with floral patterns for dress fabrics.

Cotton dress fabric known as  'Runis' Crepe designed by  Madeleine Lawrence of the Silver  Studio and sold by Liberty in the early 1930s for 2 shillings  and 11 pence per yard, ST3505, Museum of Domestic Design and Architecture

In addition to textile designs, the Silver Studio also provided Liberty with designs for their Tudric Pewter and Cymric Silver ranges.  We have a large collection of drawings for items including clocks, mirrors and jewellery for these Liberty ranges.  Not only did the Silver Studio maintain the anonymity of its designers, but Liberty did too, in order to protect the idea of Liberty as a brand.  This makes it particularly problematic when trying to trace provenance of a design. 

         Design for silver powder box, SD8326, Design for label or stamp, SD8344, Museum of Domestic Design and Architecture 

Liberty patterns have an enduring legacy; Liberty regularly re-issues designs from its archive, often re-working them for today.  One of its most recent is a twist on its Art Nouveu Ianthe pattern from the 1900s.   

As well as Silver Studio textile designs for Liberty, we hold a collection of Liberty catalogues and Liberty Art Fabric swatches.  If you would like to visit us to see the collection up close or have any questions a then please contact us.  We are open by appointment Monday to Friday and look forward to seeing you.  In addition to individual appointments we can arrange group visits too, so do get in touch!