Not currently on display at the V&A

The Owl

Furnishing Fabric
1898 (designed)
Artist/Maker
Place of origin

Charles Voysey was one of the most original and influential architects and designers of all forms of decorative art working at the end of the 19th century. In 1882 he set up his own architecture practice and from the late 1880s started to design repeating patterns for wallpaper, woven and printed textiles and carpets.

Voysey's most interesting designs date from this time and show the influence of William Morris's principles of pattern design and use of plant forms and animals as standard motifs. Voysey's textiles are dominated by flowing patterns incorporating birds, deer, hearts, flowers and trees in silhouette. He sold his work to manufacturers such as G. P. & J. Baker, Thomas Wardle and Alexander Morton, and many of his designs were sold through Liberty in London. Voysey's work was well known in continental Europe, and though popular with French Art Nouveau designers, his influence was felt more dramatically by the founders of the Modern movement.


Object details

Categories
Object type
TitleThe Owl (assigned by artist)
Materials and techniques
Jacquard woven wool double cloth, with cotton
Brief description
Furnishing fabric 'The Owl' of jacquard woven wool and cotton, designed by C.F.A. Voysey, for Alexander Morton & Co., Great Britain, 1898
Physical description
Furnishing fabric sample of woven wool and cotton. Jacquard woven showing approximately three-quarters of the repeat of 'The Owl' design. The pattern depicts a repeating design of young birds in nests amidst stylised leaves and thistles with a clutch of berries repeating between the nests. Missing from the design are the heads of adult owls sitting on branches above the nests, although the bodies of the birds are represented. The design is woven in shades of brown, green and yellow with a woollen weft and warp with a fine cotton binding warp. There is a selvedge on the right side of the fabric and the top has a machine stitched hem.

A label attached by metal staples to the textiles describes it as 'Abbotsford' quality. Pattern number 431, colour 122. The label is printed on one side with 'A. M & Co', and is stamped on the reverse with 'H. de Vries: 36ter Rue de la Tour - d'Auvergne Paris', possibly refers to a retail client.
Dimensions
  • Width: 19.5in
  • Length: 25.75in
Marks and inscriptions
  • A label attached by metal staples to the textile describes it as 'Abbotsford' quality. Pattern number 431, colour 122. The label is printed on one side with 'A. M & Co' and on the reverse stamped 'H. de Vries: 36ter Rue de la Tour - d'Auvergne Paris'. (Printed on one side of label)
  • 'H. de Vries: 36ter Rue de la Tour - d'Auvergne Paris' (Stamped on the reverse)
Credit line
Given by J W F Morton and Courtaulds Ltd.
Object history
Registered File number 1976/1601.

A sample of this fabric was exhibited in 'The Mortons' in the Museum in 1973 (No. 86).

There are two other samples of this fabric in the collection: Circ.92-1966 and T.11-1953.
Circ.92-1966 was exhibited in Brighton Museum in 'C F A Voysey architect and designer', 1978 (D13), illust. p. 104.

The design was also produced as a wallpaper by Essex & Co.
Subjects depicted
Summary
Charles Voysey was one of the most original and influential architects and designers of all forms of decorative art working at the end of the 19th century. In 1882 he set up his own architecture practice and from the late 1880s started to design repeating patterns for wallpaper, woven and printed textiles and carpets.

Voysey's most interesting designs date from this time and show the influence of William Morris's principles of pattern design and use of plant forms and animals as standard motifs. Voysey's textiles are dominated by flowing patterns incorporating birds, deer, hearts, flowers and trees in silhouette. He sold his work to manufacturers such as G. P. & J. Baker, Thomas Wardle and Alexander Morton, and many of his designs were sold through Liberty in London. Voysey's work was well known in continental Europe, and though popular with French Art Nouveau designers, his influence was felt more dramatically by the founders of the Modern movement.
Bibliographic references
  • Dekorative Kunst. I, 1897-1898, p. 272
  • Studio Year Book. 1906, p. 126
  • Naylor, Gillian. The Arts and Crafts Movement: A Study of its Sources, Ideals, and Influence on Design Theory. London: Studio Vista, 1971, p. 66
Collection
Accession number
T.167-1977

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Record createdJune 24, 2009
Record URL
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