Shawl
1926 (made)
| Artist/Maker | |
| Place of origin |
This imitation batik shawl was manufactured by Langley Prints in 1926. The craft of batik came to Europe from Indonesia via the Netherlands. It was popularised during the 1920s by practitioners such as Mme Pangon in Paris and Jessie M. King of the Glasgow School of Art. The characteristic lines made by cracks in the wax during the dyeing process are considered a fault in Indonesia. In the West, however, many artists used these to ornamental effect.
The technique involves applying wax to the textile to protect the patterned areas before placing it in a dye bath. The process can then be repeated by removing areas of wax and dyeing the exposed parts with further colours.
The technique involves applying wax to the textile to protect the patterned areas before placing it in a dye bath. The process can then be repeated by removing areas of wax and dyeing the exposed parts with further colours.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Screen-printed silk, machine-hemmed, knotted silk fringe |
| Brief description | Shawl of screen-printed silk, made by Langley Print Works, Great Britain, 1926. |
| Physical description | Shawl of screen-printed silk. Repeat of a central flower and spiral around which large flowers and leaves radiate. There is a black border and the white ground is veined with black and orange in imitation of the patterning of batik fabrics where the wax cracks during dyeing. The motifs are black and orange. Machine-hemmed. Knotted fringe in coloured silk, 11 inches long. |
| Dimensions |
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| Style | |
| Credit line | Given by Langley Prints |
| Summary | This imitation batik shawl was manufactured by Langley Prints in 1926. The craft of batik came to Europe from Indonesia via the Netherlands. It was popularised during the 1920s by practitioners such as Mme Pangon in Paris and Jessie M. King of the Glasgow School of Art. The characteristic lines made by cracks in the wax during the dyeing process are considered a fault in Indonesia. In the West, however, many artists used these to ornamental effect. The technique involves applying wax to the textile to protect the patterned areas before placing it in a dye bath. The process can then be repeated by removing areas of wax and dyeing the exposed parts with further colours. |
| Bibliographic reference | Samuels, Charlotte. Art Deco Textiles. London : V&A Publications, 2003. Plate 102. |
| Collection | |
| Accession number | T.84-1964 |
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| Record created | September 30, 2002 |
| Record URL |
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