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- 1930. Catalogue of English Embroidery of the 13th to the 16th Centuries. London, Victoria and Albert Museum.

---.1954. Women's Costume in the Eighteenth Century. Manchester, Manchester City Art Galleries.

20 pages of monochrome plates of items in the collection.

- 1980. A Handful of History. Catalogue of the exhibition of decorative gloves from the Spence Collection, arranged by the Worshipful Company of Glovers and the Museum of London at Austin, Reed, Regent Street, London. R. S. Austin Reed. London.

- 1981. Catalogue of Shoe and Other Buckles in Northampton Museum, Northampton Borough Council Museums and Art Gallery.

---. 1983. The Burrell Collection. London & Glasgow, Collins & Glasgow Museums and Art Galleries.

---. 1987. GlasgowArtGallery and Museum: The Building and the Collections. London & Glasgow, Collins & Glasgow Museums and Art Galleries.

---. 1994. HamptonCourtPalace: King's Apartments: Souvenir Guide. London, Hampton Court Palace.

- 1996. Textiles in the Metropolitan Museum of Art. New York, Metropolitan Museum of Art.

The book is richly illustrated and is arranged in ten sections including one on European textiles of the sixteenth to nineteenth centuries.

---. 1997. The National Trust: historic houses and collections (13 article special section), Apollo, 145, 3-53.

A special section on National Trust historic houses and collections in England and Northern Ireland. The section includes articles on the textiles of Tattershall Castle between around 1450 and 1550; the collection of 18th-century Irish furniture at Florence Court; the statuary in the garden at Croome Court; and the 20th-century interior design of Hinton Ampner House.

Alexander, H. 2001. The FanMuseum. Lingfield, The Fan Museum, London in association with Third Millenium Publishing.

Allgrove McDowell, J. 1988. The textiles at Hardwick Hall (article in two parts), Hali Magazine, 39 & 40.

Arnold, J. 1969. A pink silk domino c.1760-70 from the Victoria and Albert Museum, Costume, 3.

Includes pattern.

Arnold, J. 1970. A mantua c.1708-9 from the Clive House Museum, Shrewsbury, Costume, 4.

Includes pattern.

Arnold, J. 1972. A silver embroidered court mantua and petticoat of c.1740 from the Welsh Folk Museum, Cardiff, Costume, 6.

Arnold, J. 1973. A court mantua of c.1760-5 from the Metropolitan Museum, New York, Costume, 7.

Includes pattern.

Arnold, J. 1973. Sir Richard Cotton's suit, Burlington Magazine, CXV(May), 326-329.

Includes monochrome plates and pattern of a suit of 1618 in the Victoria and Albert Museum.

Arthur, L. 1995. Embroidery 1600-1700 at the Burrell Collection. London, Murray & Glasgow Museums.

Ashelford, J. 1997. The art of dress: an introduction to the National Trust's costume collection. In: K. Marko, ed. Textiles in Trust, London, Archetype & National Trust, 81-87.

Provides an overview of four major costume collections owned by the National Trust, those at Snowshill Manor in Worcestershire, Springhill in Northern Ireland, Killerton House in Devon, and Blickling Hall in Norfolk. Snowshill Manor's collection consists of 2,000 objects of male and female dress dating from the 18th to early 20th centuries. Springhill has one of the most important collections of clothes and textiles in Northern Ireland. Begun in 1964, the collection now contains over 3,000 objects dating from the 18th century to the present. Killerton's collection was assembled by the actress Paulise de Bush beginning in the late 1930s; it now contains 8,000 items from the mid-17th century to the present. Blickling's collection includes 18th-century clothes. The author stresses the importance of the provenance of these clothes. She also touches on several smaller costume collections at other National Trust properties.

Avery, T. 1997. The furnishings of Tattershall Castle, c.1450-1550: a display of wealth and power, Apollo, 145, 37-39.

Part of a special section on National Trust historic houses and collections in England and Northern Ireland. Avery discusses the furnishing of Tattershall Castle, Lincolnshire, England, between ca. 1450 and 1550. She describes the contents of a 16th-century inventory of the castle's textiles, which include hangings depicting religious and political subjects and rare carpets. Tattershall inventory is compared with that of Caister Castle, Suffolk, to determine the distribution of hangings and bedding among large communal rooms and the smaller rooms of the household members, suggesting that the large amount of mattresses and bolsters listed at Tattershall were used in the keep's 20 small rooms and in adjacent buildings.


Band, J. 1994. The Hampton Court fire: the conservation of the damaged textiles, Apollo, 140 (Special Edition), 46-49.

Part of a special section on King William III's apartments at Hampton Court Palace, England. The writer provides an account of the restoration of the textiles that form the palace collection, concentrating on the aftermath of the 1993 fire at the palace. While the conservators have always had to ensure the continued stability of the textiles while using treatments suitable for public display, the exigencies of fire damage presented a need for new measures, both short- and long-term; Band goes on to outline some of these measures.

Blum, D. 1997. The Fine Art of Textiles: The Collections of the Philadelphia Museum of Art. Philadelphia.

History and survey of the collection.

Bonito Fanelli, Rosalia ed. 1975. Il museo del tessuto a Prato: la donazione Bertini. Florence: Centro Di.

This catalogue includes textiles dating from the fifteenth to the beginning of the nineteenth century, the majority from the sixteenth and seventeenth centuries and mostly made in Italy.

Bonito Fanelli, Rosalia and Paolo Peri, eds. 1981. Tessuti italiani del Rinascimento: collezioni Franchetti Carrand. Florence.

Catalogue of an exhibition held at the Palazzo Pretorio in Prato.

Bonito Fanelli, Rosalia. 1989. Le collezioni di Palazzo Mosca a Pesaro: tessuti e merletti. Modena: Edizioni Panini.

Catalogue of an exhibition curated by M.G. Ciardi Duprè dal Poggetto.

Buss, Chiara, ed. 1990. Il disegno a meandro nelle sete broccate 1745-1775: mostra di tessuti antichi dalla collezione Ermenegildo Zegna. Milan: Ermenegildo Zegna.

Butazzi, Grazietta ed. 1970. Guida internazionale ai musei e alle collezioni pubbliche di costumi e di tessuti. Venice: Centro Internazionale delle Arti e del Costume.

Texts are provided in English, Italian and French. It is divided alphabetically by country, and then subdivided by city and then museum, still alphabetically. Each museum is listed with its address, a short guide to its contents, and a bibliography for further information.

Bower, H. 2000. Textiles at TempleNewsam: The Roger Warner Collection. Leeds, Leeds Art Collections Fund for Leeds Museums and Galleries.

The Roger Warner Collection of historic textiles was given to Temple Newsam by this private collector, who acquired many fabrics during his fifty year career as an antique dealer. They were mostly furnishings bought at country house sales. The rest he inherited from his grandfather, Metford Warner, who was the owner of a leading Victorian wallpaper printing firm, Jeffrey & Co. of London. Metford Warner collected pieces of textile from many sources as design inspirations for his wallpapers. As a result, many of the fragments have especially interesting or unusual patterns. The textiles range from the 17th to the early 20th centuries, and include both furnishings and dress fabrics. There are silks, cottons, linens, and embroidered pieces, all of which together are able to provide an insight into developments in pattern design and manufacture.

Brett, K. B. 1972. English Embroidery: Sixteenth to Eighteenth Centuries: Collections of the RoyalOntarioMuseum. Toronto, Royal Ontario Museum.

Brooke, X. 1992. The LadyLeverArtGallery: Catalogue of Embroideries. Stroud, Alan Sutton & National Galleries and Museums on Merseyside.

Brooks, M. M. 2004. English Embroideries of the Sixteenth and Seventeenth Centuries in the collection of the Ashmolean Museum. London, Ashmolean Museum in association with Jonathan Horne Publications.

Browne, C. 2004. Lace from the Victoria and AlbertMuseum. London, Victoria and Albert Museum.

Burman, B. and Denbo, S. 2006. Pockets of History: the Secret Life of an Everyday Object, Bath Museum of Costume.

Burnham, D. K. 1973. Cut My Cote. Toronto, Royal Ontario Museum.

Monochrome plates and diagrams showing the cut of basic T-shaped garments.

Byrde, P. and Mines, M. 1980. Museum of Costume. Bath, Bath City Council.

Campbell, T. P. 1994. William III and "The Triumph of Lust" - the tapestries hung in the King's State Apartments in 1699, Apollo, 140 (Special Edition), 22-31.

Part of a special section on King William III's apartments at Hampton Court Palace, England. Campbell proposes that it is possible to reconstruct the original tapestry hanging scheme of 1699 at Hampton Court. He notes that circumstantial evidence from contemporary wardrobe accounts and descriptions from later sources indicate that the State Apartments were hung with tapestries from the Abraham and Joshua series, originally purchased by Henry VIII, which are two of the most valuable sets in the royal collection.

Campbell, T. P. 1996. School of Raphael tapestries in the collection of Henry VIII, Burlington Magazine, 138, 69-78.

The school of Raphael tapestries in the collection of Henry VIII are discussed. In addition to the 1547 inventory of Henry VIII's possessions, which included the Acts of the Apostles tapestry set, a number of shorter and earlier inventories also survive. One of these, dated 1542, lists two of the Acts of the Apostles as well as two of the Antiques, another tapestry set. These Antiques can be identified with a seven-piece set of the same name that was moved from Westminster to the Tower Wardrobe some months after the death of Henry VIII in 1547. The quality of the Acts of the Apostles and a Brussels mark in the lower selvage of one of the Antiques suggests that both sets were woven in Brussels; the mark has been attributed to the workshop of Guillaume and Jean Dermoyen.

Campbell, T. P. 1998. Romulus and Remus tapestries in the collection of Henry VIII, Apollo, 147, 42-50.

Campbell discusses a group of tapestries that hung in the Prince's Chamber of the House of Lords, the only record of which are drawings and descriptions by the antiquary John Carter. He explains that the set's true identity is provided by a tapestry fragment sold in 1979, part of which corresponds to Carter's drawing of the right side of the first of the set and includes the section that he did not see, showing Amulius ordering the infants Romulus and Remus to be abandoned in the wild. Observing that this suggests the other tapestries also showed scenes from the story of Romulus and Remus, he notes that four pieces on this subject were sent from the Removing Wardrobe at Whitehall to the Prince's Chamber in 1685 and that they had been used in this location on previous occasions. He asserts that this provides a clear link with one of two sets of this subject listed in the royal collection in the 17th century. He goes on to discuss the earlier provenance of the set that can be identified from this association, asserting that the set was Flemish and was sold to Henry VIII in 1529.

Campbell, T. P. 2004. New evidence on "Triumphs of Petrarch" tapestries in the early sixteenth century. Part II: the English court, Burlington Magazine, 146, 602-608.

New evidence suggests that the "double chariot" Triumphs of Petrarch tapestries at the Victoria and Albert Museum, London, derive from a set that was woven in 1520 for Cardinal Wolsey. Evidence for the arrival of the Triumphs series at the Tudor court is provided by documentation relating to Wolsey's artistic patronage in the early 1520s. Confirmation that he owned two sets of this design is provided by the inventory of his tapestries that was drawn up between late 1521 and early 1523. Furthermore, an adaptation made to the cartoon from which the Victoria and Albert's Triumph of Fame over Death was woven suggests that there may be grounds for assuming a link between it and the high-quality set of Triumphs listed in Wolsey's inventory: Two new figures were added in the center of the cartoon for the Triumph of Fame over Death, one portraying Wolsey himself, the other his patron, Henry VIII.

Carmignani, Marina, ed. 1991. I ricami dal XIV al XVII secolo nella collezione Carrand. Florence: Museo Nazionale del Bargello.

Exhibition catalogue.

Chiarelli, Caterina, Carlo Sisi and Giovanna Tennirelli, eds. 2003. Galleria del Costume di Palazzo Pitti: le collezioni: l’abito e il volto, storie del costume dal XVIII al XX secolo. Leghorn: Sillabe.

Coleman, J. 1998. Seats of kings, World of Interiors, 18(8), 58-67.

Coleman discusses the preservation of the vast collection of 17th-century royal upholstered furniture at Knole house in Kent, England. Although the National Trust has taken great care to preserve this rare upholstery, there is growing evidence that it has been subject to many interventions in the past. This suggests that in the late 19th or early 20th century, the old textile covers were repaired and some even renewed, but that this was done in a sympathetic manner that respected the antique appearance of the surviving pieces, with similar fabrics found and reused to patch up what had survived.


Dapor, Gaspare R. 1984. La seta nel Trentino: dalla collezione del Museo civico di Rovereto. Rovereto: Museo civico.

Davanzo Poli, Doretta. 1989. ‘La collezione Cini dei Musei Civici veneziani. Tessuti antichi’. In Bollettino dei Musei Civici veneziani d’Arte e di Storia. XXXIII, pp. 17-188.

Davanzo Poli, Doretta ed. 1994. Tessuti antichi: tessuti, abbigliamento, merletti, ricami: secoli XIV-XIX. Treviso: Edizioni Canova.

This catalogue accompanied the 1994 exhibition of the Museo Civico of Treviso’s extensive textile collection; 328 out of over 1,000 pieces were selected for the exhibition and the catalogue provides mainly black and white photographs, although a few are in colour. The catalogue also includes two essays, one on the production and trade of woolen cloth in Treviso from the twelfth to the fourteenth century, and the other continuing the discussion of Treviso’s commercial and production activities up until the eighteenth century.

Davanzo Poli, Doretta ed. 1997. Seta & oro: la collezione tessile di Mariano Fortuny. Venice: Arsenale Editrice.
This catalogue accompanied the exhibition held at the Biblioteca Nazionale Marciana in Venice in 1997-1998.

It includes items of male and female clothing as well as liturgical vestments, accessories such as scarves, and furnishings such as cushion covers and items relating to church ritual. The exhibition is international in scope, including many items from Italy, but also Europe, Africa and the East and the date range is correspondingly broad, from the fifteenth to the twentieth century. The catalogue provides high-quality colour photography throughout.

Davanzo Poli, Doretta. 1985. Tessuti, costumi e moda. Le raccolte storiche di palazzo Mocenigo, Venice: Stamperia di Venezia.

Catalogue of an exhibition that took place at the Palazzo Mocenigo in Venice.

Davin, R. 1990. 1st Floor: Millinery. 50 Hats from the Rougemont House Collections. Exeter, Museums of Exeter.

An introduction to Exeter’s collection of over 350 hats, including rare examples from the eighteenth and early nineteenth centuries. A brief essay discusses changing styles from 1760-1970, and the fifty hats chosen for exhibition are described in detail, with some illustrations.

Devoti, Donata, ed. 1985. La collezione Gandini del museo civico di Modena: i tessuti del XVIII e XIX secolo. Bologna: Nuova Alfa.

Devoti, Donata and Marta Cuoghi Costantini, eds. 1993. La collezione Gandini tessuti dal XVII al XIX secolo. Modena: Franco Cosimo Panini.

Doran, S. and Starkey, D. eds. 2003. Elizabeth: The Exhibition at the National Maritime Museum. London, Chatto & Windus in association with the National Maritime Museum.

Doré, J. 1997. The costume collections at Springhill Manor and the Ellen Terry Museum, Smallhythe Place: their care and conservation. In: K. Marko, ed. Textiles in Trust, London, Archetype & National Trust, 88-95.

Doré details two costume collections in National Trust properties that are not well known by either the general public or costume historians. They are at Smallhythe Place, the home of actress Ellen Terry, in Kent, and Springhill Manor in County Derry, Northern Ireland. She describes the history of her involvement with these collections, beginning in the early 1960s, when she was a conservator at the Victoria and Albert Museum, London. These collections were cataloged, properly stored, conserved, and prepared for display.

Doré, J. 1997. Worn at court: the Clanwilliam court mantua at Springhill, Apollo, 145, 24-27.

Part of a special section on National Trust historic houses and collections in England and Northern Ireland. Doré discusses an 18th-century dress held in the Springhill Costume Collection at Springhill, County Derry, Northern Ireland. A richly decorated robe and matching petticoat made in a magnificent silk brocaded tabby, the costume is a mantua, intended to be worn for presentation at Court in England. These garments dated to the late 17th century and were informal, loose gowns. The style fossilized into a fitted bodice, pleated into the small of the back, and a train, lifted off the ground by a pin or fastener. Such garments were so valuable that they were recycled for the original owner's daughter, or other relative, when their turn to be presented came; this example was worn at a Court ball in 1845.

Egan, G. 1994. Lead Cloth Seals and Related Items in the British Museum. London, Department of Medieval and Later Antiquities, British Museum.

The catalogue covers 350 lead cloth seals, both English and European, with related items. The seals were lost mainly in London between the fourteenth and nineteenth centuries.

Evans, G. 2008. Marriage à la mode, an eighteenth-century wedding dress, hat and shoes set from the Olive Matthews Collection, Chertsey Museum, Costume, 42, 50-65.

Garnett, O. and Byrde, P. 1994. The Museum of Costume and Assembly Rooms, Bath. Bath, Bath City Council and the National Trust.

The second section of the book provides a guide to the dress collection of the Museum of Costume, which includes items from the seventeenth century through to the 1990s. The text places the items in their historic and stylistic context and is illustrated with photographs.

Gibbs-Smith, C. H. 1936. Costume. An index to the more important material in the library, with annotations & shelf-marks, together with a guide to other documentary material in the Museum. London, Victoria and Albert Museum.

Gibson, E. 1919. ‘Collections visited: some gloves from Mr Robert Spence’s collection: Part I’, Connoisseur, 55.

Robert Spence (1870-1964) was an artist and illustrator who collected examples of original costume to assist in his work, in particular seventeenth-century gloves with rich trimmings and embroidered decoration.

Gibson, E. 1920. ‘Collections visited: some gloves from Mr Robert Spence’s collection: Part II’, Connoisseur, 58.

Robert Spence (1870-1964) was an artist and illustrator who collected examples of original costume to assist in his work, in particular seventeenth-century gloves with rich trimmings and embroidered decoration.

Hackenbroch, Y. 1960. English and other Needlework Tapestries and Textiles in the Irwin Untermyer Collection. London, Thames and Hudson.

Halls, Z. 1969. Women's Costumes 1600-1750. London, H.M.S.O.

Catalogue of the costume collection at the Museum of London with 21 monochrome plates and 2 folding patterns of mantuas.

Halls, Z. 1970. Men's Costume 1580-1750. London, H.M.S.O.

Catalogue of the costume collection at the Museum of London.

Halls, Z. 1972. Women's Costume 1600-1750. London, H.M.S.O.

Catalogue of the costume collection at the Museum of London.

Hart, A. and North, S. 1998. Historical Fashion in Detail: the Seventeenth and Eighteenth Centuries. London, Victoria and Albert Museum.

Hashagen, J. and Levey, S. M. 2006. Fine & Fashionable: Lace from the Blackborne Collection. Barnard Castle, Bowes Museum.

Many coloured plates.

Hefford, W. 1992. The Victoria and AlbertMuseum's Textile Collection: Design for Printed Textiles in England from 1750 to 1850. London, Victoria and Albert Museum.

Hillyer, L., Gentle, N. and Balfour, D. 2000. The reassembly of a seventeenth-century state bed, The Conservator, 24, 3-14.

The materials and construction of a rare and remarkably well preserved 17th-century state bed are described and its conservation is outlined. The bed was reassembled for the first time in 15 years as a rehearsal for its installation in the British Galleries at the Victoria and Albert Museum in 2001. The benefits of the rehearsal are evaluated. The risks of reassembling the bed with its fragile textile elements are assessed, and the measures needed to minimize handling and protect the original materials are described. The planning process for the rehearsal was a valuable collaboration between conservators, curators, and technical staff and yielded much information about both the history and construction of the bed.

Irwin, J. and Brett, K. B. 1970. Origins of Chintz: with a Catalogue of Indo-European Cotton-Paintings in the Victoria and AlbertMuseum, London and the Royal Ontario Museum, Toronto. London, H.M.S.O.

Johnstone, P. 1986. Three Hundred Years of Embroidery 1600-1900: Treasures from the Collection of the Embroiderers' Guild of Great Britain. Netley, South Australia, Wakefield Press.

Jourdain, M. 1927. Needlework at Hardwick, Country Life, 26 February 1927.

Jourdain, M. 1927. Some tapestries at Hardwick Hall, Country Life, 26 March 1927.

Jourdain, M. 1952. Stuart Furniture at Knole. London, Country Life.

King, D. and Levey, S. M. 1993. The Victoria and AlbertMuseum's Textile Collection: Embroidery in Britain from 1200 to 1750. London, Victoria and Albert Museum.

King, D. and King, M. 1990. European Textiles in the Keir Collection, 400BC to 1800AD. London, Faber & Faber.

Kite, M. and Cogram, A. 2006. Re-evaluation and retreatment: the reconservation and remounting of an English court mantua, Studies in Conservation, 51(2).

The British Galleries project at the Victoria and Albert Museum (V&A) involved a major redisplay of approximately 5000 objects. One of the star objects provided an ideal opportunity to re-evaluate the presentation and shape of an important eighteenth-century dress known as the Christie Dress. A paper on this object had been published previously in Studies in Conservation 23 (1978) 1-14, but at that time little material analysis was carried out. Since the late 1970s the mantua has been on almost constant display. The authors describe the technical research, materials analysis and conservation, and re-evaluate previous reconstructions carried out on the dress. Reprinted by permission of the publisher.


Levey, S. M. 1972. An Elizabethan embroidered cover, Victoria and Albert Museum Year Book, 76-86.

The Grenville cover, late sixteenth century with designs for embroidery from Trevelyan's Miscellany of 1608.

Levey, S. M. 1998. An Elizabethan Inheritance: The Hardwick Hall Textiles London, National Trust.

Levey, S. M. 2000. Bess of Hardwick Hall and her household stuffe, Piecework, 8(1), 22-27.

The textile furnishings of Hardwick Hall in Derbyshire, England, particularly those of Bess of Hardwick (1518-1608), are discussed. Hardwick Hall, despite the depredations of time, contains the most significant collection of original 16th-century furnishings in England, and Bess was involved intimately in their acquisition. Particularly important to her were the embroideries and pieces of needlework, of which there were about 100 pieces in 1601, ranging from chair backs, stool covers, and cupboard and table carpets to a bed and set of wall hangings with borders and applied motifs of needlework.

Levey, S. M. and Thornton, P. 2001. Of Household Stuff: The 1601 Inventories of Bess of Hardwick. London, National Trust.

Levey, S. M. 2007. The Embroideries at Hardwick Hall. A Catalogue. London, National Trust.

Mackenzie, A. 2004. Hats and Bonnets from Snowshill, one of the World's Leading Collections of Costume and Accessories of the 18th and 19th Centuries. London, National Trust.

Maclagan, E. R. D., Trendell, P. G. and Van De Put, A. 1930. Catalogue of English Ecclesiastical Embroideries of the XIII to XVI Centuries. London, Victoria and Albert Museum.

Marillier, H. C. 1962. The Tapestries at HamptonCourtPalace. London, H.M.S.O.

McNeil, P. 2005. Courtier or Macaroni? An eighteenth-century man's waistcoat at the Royal Ontario Museum, Toronto. In: R. Falkenberg, A. Rasche and C. Waidenschlager, eds. On Men: Masculine Dress Code from Ancient Greeks to Cowboys, Berlin, ICOM Costume Committee, 19-24.

Miller, A. 2007. Dressed to Kill: British Naval Uniform, Masculinity and Contemporary Fashions 1748-1857. London, National Maritime Museum.

This book examines not only naval dress but also male fashion in the eighteenth and nineteenth centuries. The development of naval uniform is considered within social, economic, and historical contexts. Includes a catalogue of colour photographs of uniform from the collection of the National Maritime Museum.

Mitchell, A. 1999. "La plus belle chose du monde" and the Enghien tapestries at Dyrham Park and Maiden Bradley, Apollo, 149, 33-37.

Mitchell discusses the Enghien tapestries at the neighbouring houses of Dyrham Park and Maiden Bradley in England. Enghien refers not to the place of manufacture of the tapestries but their subject matter--the celebrated gardens at Enghien in Belgium. Of the six tapestries at Dyrham and the six at Maiden Bradley, each house has one tapestry that is unique and complete, and it is these that most explicitly display the rich imagery of Enghien garden features. Created between 1630 and 1665, the gardens were a noted attraction for travelers, and their fame was widely disseminated by engraved views; these include 17 sumptuously elaborate plates drawn and engraved by Romeyn de Hooghe and published in 1685. Although the tapestries at Dyrham are not strictly based on De Hooghe's engravings, they show some of the principal features depicted by him as well as by numerous other engravers. The writer goes on to examine the various features of the gardens as represented in the engravings and the tapestries.

Murdoch, T. 1991. Treasures and Trinkets: Jewellery in London from pre-Roman times to the 1930s. London, Museum of London.

A Museum of London Catalogue sponsored by the Worshipful Company of Goldsmiths.

Murdoch, T. 2002. Fit for a king: the state bed from Melville House, Fife, Apollo, 155, 3-9.

The State Bed from Melville House in Fife, Scotland, is the most spectacular single exhibit in the Victoria and Albert Museum's new British Galleries. The bed was made for George, 1st Earl of Melville for the Apartment of State at his new palace in approximately 1700. The bed is over 17 feet high and retains its original luxury hangings of crimson Genoa velvet with ivory Chinese silk damask linings embroidered with crimson silk trimmings. It was inspired by the recent history of the Melville family and customized for George and Catherine Melville with their conjoined cipher on the centerboard and in the center of the counterpane. The bed was intended as a personal status symbol, as a gesture of allegiance to the monarch, and as a symbol of the royal favor the Melville family enjoyed. It was preserved as an heirloom by the next generation, and documentary evidence, together with the pristine condition of the bed, would suggest that it has never been slept in. The bed's style, upholstery, dimensions, costs, and installation are discussed.


Nevinson, J. L. 1934. Men's costume in the Isham Collection, Connoisseur, XCIV, 313-320.

Includes monochrome plates of items from the Isham Collection, Victoria and Albert Museum.

Nevinson, J. L. 1934. New material for the history of seventeenth century costume in England, Apollo, XX, 315-319.

Monochrome plates of items in the collection at Claydon House, near Aylesbury.

Nevinson, J. L. 1938. Catalogue of the English Domestic Embroidery of the Sixteenth and Seventeenth Centuries. London, H.M.S.O.

Catalogue produced by the Department of Textiles, Victoria and Albert Museum.

Nevinson, J. L. 1973. Stitched for Bess of Hardwick: embroideries at Hardwick Hall, Derbyshire, Country Life, 29 November 1973.

Nevinson, J. L. 1975-6. An Elizabethan herbarium: embroideries by Bess of Hardwick after the woodcuts of Mattioli, National Trust Year Book.

Nevinson, J. L. 1981. A sixteenth-century doublet. In: M. Flury-Lemberg and K. Stolleis, eds. Documenta Textilia: Festschrift für S. Müller-Christensen, Munich, Deutscher Künstverlag, 371-375.

Discussion of satin doublet at Hever Castle, Kent.

North, S. 2008. The physical manifestation of an abstraction: a pair of 1750s waistcoat shapes, Textile History, 39(1), 92-104.

A pair of tamboured French waistcoat shapes in the V&A's collection bears Customs stamps from the reign of George II. Examination of both the garment and Customs records held by the National Archives reveals the illegal commerce in textiles in eighteenth-century Britain, and the reasons why such goods were taxed or banned. The political, social, administrative and fashion contexts of textile smuggling are discussed, as well as its numerous methods of execution, allowing speculation on the exact progress of the waistcoat shapes from embroiderer's workshop to museum storeroom.

Palmer, A. 1990. ‘The Royal Ontario Museum, Costume and Textile Gallery, ‘Measure for Measure’.’, Costume, 24, 113-116.

Short article describing the opening exhibition, ‘Measure for Measure’, of the Costume and Textile Gallery of the Royal Ontario Museum (October 1989). The exhibition explored four traditional methods of making costume: draping, straight-cutting, tailoring and making to shape.

Peri, Paolo. 1991. Tessuti al Bargello. Donazioni 1988-1991. Florence: Studi per edizioni scelte.

Portoghesi, L. 1977. Antichi tessuti d’arte italiani dalle Collezioni di Palazzo Venezia. Rome.

Ribezzi, Tiziana and Maria Lunazzi Mansi. 1999. Tessuti Antichi. Trieste.

This is the catalogue of the textiles held at the Museo Friulano delle Arti e Tradizioni Popolari in Udine, which range from the 17th to the 20th century and include liturgical vestments, furnishing fabrics and items of female clothing.

Ribolla, P. 1991. ‘Appunti su collezionismo e collezioni di tessuti serici in Liguria’. In Seta a Genova 1491-1991. Genoa: Colombo.

Rock, D. 1870. Textile Fabrics: a Descriptive Catalogue of the Collection of Church-Vestments, Dresses, Silk Stuffs, Needlework and Tapestries, Forming that Section of the Museum. London, Victoria and Albert Museum.

Rosseau, B. 2005. Early-seventeenth-century English embroidered jackets, Piecework, 13(1), 30-34.

Rosseau discusses early-17th-century English embroidered jackets. She focuses on a jacket worn by Margaret Laton for a portrait and now in the Victoria and Albert Museum, London, which features an embroidery pattern consisting of a scrolling vine arrayed with flowers, fruit, birds, and insects.

Rothstein, N. 1994. The Victoria and AlbertMuseum's Textile Collection: Woven Textile Design in Britain from 1750 to 1850. London, Victoria and Albert Museum.

Rothstein, N. 1994. The Victoria and AlbertMuseum's Textile Collection: Woven Textile Design in Britain to 1750. London, Victoria and Albert Museum.

Rothstein, N., ed. 1999. Four Hundred Years of Fashion. London, Victoria and Albert Museum.

Rowell, C. 1996. A seventeenth-century 'cabinet' restored: the Green Closet at Ham House, Apollo, 143, 18-23.

The writer discusses the Green Closet, a 17th-century cabinet room at Ham House in England. The cabinet room was an original part of the house, which was built in 1610. The closet derives from the Italian studio or studiolo, a room designed for study and for the storage and display of small paintings and works of art. The Green Closet is an exceptional example as it has survived with most of its original contents. The original emphasis in the room was probably on paintings, miniatures, and drawings. The coved ceiling was decorated with Italianate paintings, the walls were hung with fringed green damask, and the furniture included Japanese lacquer cabinets and two long stools. From 17th-century inventories, the picture hang has been restored and the textiles faithfully reproduced; with the contents and decor mostly intact, the closet has reemerged as a European locus classicus.

Rowley, C. 1976. Costume in ChertseyMuseum, 1700-1800, Chertsey Museum.

Rushton, P. 1999. 18th Century Costume in the NationalMuseums and Galleries on Merseyside. Liverpool, National Museums and Galleries on Merseyside.

Scheenholzer Nichols, Thessy and Iolanda Silvestri, eds. 2002. Musei civici di Modena: la collezione Gandini: merletti, ricami e galloni dal XV al XIX secolo. Modena: Franco Cosimo Panini.


Snodin, M. and Styles, J. 2001. Design and the Decorative Arts: Britain 1500-1900. London, Victoria and Albert Museum.

Stavenow-Hidemark, E. ed. 1990. 18th Century Textiles: The Anders Berch Collection at the Nordiska Museet. Stockholm, Nordiska Museet.

An illustrated and fully annotated catalogue of the textile section of the eighteenth-century Anders Berch collection. Includes nearly 1,700 items of which most are textile samples from Europe, India and China.

Sykas, P. A. 2001. ‘The North West pattern book survey’, Textile History, 32(2), 156-174.

Describes a survey of pattern books in the collections of museums, libraries, record offices and educational institutions in the North West of England. The material surveyed includes pattern books from the later eighteenth to the later nineteenth century.

Tarrant, N. E. A. 2001. Textile Treasures: an Introduction to European Decorative Textiles for Home and Church in the National Museums of Scotland. Edinburgh, National Museums of Scotland.

Taylor, L. 2004. Establishing Dress History. Manchester, Manchester University Press.

A study of the historiography of dress and of dress collections in a museum context.

Thornton, P. and Tomlin, M. 1980. The Furnishing and Decoration of Ham House. London, Furniture History Society.

Tobin, S. 1999. ‘Paulise de Bush, the story of a collection’, Costume, 33, 116-122.

This article traces the history of the Paulise de Bush dress collection, now part of the National Trust’s collection of dress and accessories at Killerton House.

Wardle, P. 1970. Victoria and Albert Museum: Guide to English Embroidery. London, H.M.S.O.

Wingfield Digby, G. 1980. The Tapestry Collection: Medieval and Renaissance. London, Victoria and Albert Museum.

Wise, A. 1997. Costume and Textiles at Worthing Museum and Art Gallery. Worthing.

A brief account is given of the way the collection has developed and the museum’s approach to its exhibition, followed by a chronological and thematic discussions of clothing and textiles illustrated with examples from the collection. The costume and textile collections date from the 17th century until present day. The diverse costume collection comes from all over Britain and covers a whole range of types of clothing for different occasions. The textiles cover all aspects of needlework, domestic furnishings and pictures in wools and silks.

Wise, A. 2006. ‘Warner Textile Archive - a woven heritage’, Journal for Weavers, Spinners & Dyers, 217, 19.

The Warner Textile Archive has been housed at Warners Mill, Silks Way, Braintree, England, since February 2005. This nationally important archive is a unique record of the history of textile manufacture since the 18th century. It includes not only every example of woven and printed fabric produced by Warner and Sons but also examples produced by other companies. It features an extensive collection of original works commissioned from important artists and designers by Warner and Sons.

Zanni, Annalisa, Bellezza Rosina, Margherita and Ghirardi, Margherita eds. 1999. Velluti e moda tra XV e XVII secolo. Milan: Skira Editore.

This catalogue is divided into six sections, following the structure of the exhibition held at the Museo Poldo Pezzoli in Milan, and featuring many of the textiles from the museum’s own collections. The accompanying essays discuss the increasing differentiation between velvet fabrics for clothing and those for furnishing from the sixteenth century onwards, and the corresponding changes in techniques and production, as well as shifts in fashions and influences. All texts are provided in English and Italian apart from a short essay on the reconstruction of two outfits, one male, one female, dating from the first half of the seventeenth century which is in Italian only. The accompanying photographs are mostly in colour and certain velvets are shown in detail, allowing for a closer study of particular techniques.



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