Mabel Phyllis Barron (19 March 1890 – 23 November 1964) was an English designer, known for her textile printing workshop with Dorothy Larcher. These textiles are ‘noted for the assurance and originality of the designs, their distinctive and subtle colouring, and the quality of the materials selected’[1]
Phyllis Barron | |
|---|---|
| Born | Mabel Phyllis Barron 19 March 1890 Taplow, Buckinghamshire, England |
| Died | 23 November 1964 (aged 74) |
| Education | Slade School of Fine Art |
| Known for | Textile design |
| Partner | Dorothy Larcher |
Early life and education
editBarron was born in Taplow House in Taplow, Buckinghamshire, the daughter of Alice (née Clark) and Walter Barron. She later described her father as 'something in the City' and considered her family to be rich. She encountered block printing in her mid teens while on a sketching holiday in Normandy, when the tutor gave her some old printing blocks to experiment with. On realising that the blocks were designed for textiles not paper, she researched further in the library of the Victoria and Albert Museum. She attended the Slade School of Fine Art, where she studied fine art under Henry Tonks, but continued her independent efforts to experiment with printing and to learn about dyeing techniques.[1] She was particularly interested in traditional Indian block printing techniques and rural French designs.[2]
Career
editIn 1917, Barron had her first exhibition and subsequently showed her work at several exhibitions at the Brook Street Gallery together with weaving from Ethel Mairet’s workshop. Some of Barron's earliest commissions came from the Duke of Westminster's architect, Detmar Blow;[3] she created all the textiles used in the Duke's yacht, in his estate offices and in his hunting lodge.[1] The Duke introduced Barron to Coco Chanel, who placed an order of Barron's cushions for her garden.[4] She also exhibited pieces at the Omega Workshops but never became further involved in running the business.[5]
In 1923, Barron and Dorothy Larcher began to share a workshop in Parkhill Road, Hampstead, dyeing and block-printing their designs on textiles, and selling the results to interior decorators and fashion designers. Barron favored geometric prints. Enid Marx served as their apprentice from 1925 to 1927. Barron and Larcher were featured in a show of "Handmade Textiles and Pots" at Heal's Mansard Gallery in London.[6] Artist Paul Nash said of Barron in 1926, "She is a true designer and a true craftswoman."[7]
Barron and Larcher relocated their work to Hambutts House, Painswick, Gloucestershire, in 1930. Stables on the property became a workshop with a large dyeing vat for working with indigo. The grounds became gardens filled with flowers and other plants useful to their work, either practically or as visual inspiration. Among their major commissions they provided hand-printed linen for the interior furnishings, including upholstery and curtains, of a new wing at Girton College, Cambridge in 1932,[8] and curtains for the choir stalls at Winchester Cathedral.[9]
For about a decade they prospered in Painswick and even hired three assistants for a time; but by the early 1940s they had to discontinue production in the face of wartime shortages.[2][10]
Later in life, Phyllis Barron taught art teachers at Dartington Hall, visited classes at Stroud School of Art, and worked with several young artists interested in printing. She also became active in local government, and served for a time as chair of the Painswick Parish Council, and a member of the Stroud rural district council.[9] She was a member of the Red Rose Guild.[11]
Personal life
editPhyllis Barron lived and worked with her partner Dorothy Larcher for almost thirty years, until Larcher's death in 1952.[12] They decorated their home with their own fabrics, and wore printed dresses of their own design.[13] Phyllis Barron died in 1964, age 74. She left her collections of printing blocks and samples to her friend, artist Robin Tanner. Tanner, in time, donated them to the Crafts Study Centre, then in Bath, now housed at University for the Creative Arts in Surrey.[14]
In 1966, a memorial exhibition of Barron and Larcher's works was held at the Royal West of England Academy. Fabrics printed by Barron and Larcher are in the collections at the Victoria and Albert Museum, the Whitworth Art Gallery in Manchester, the Crafts Study Centre in Farnham among other institutions.[9]
References
edit- ^ a b c Barley Roscoe, "Phyllis Barron and Dorothy Larcher" in Margot Coatts, ed., Pioneers of Modern Craft: Twelve Essays Profiling Key Figures in the History of Twentieth-Century Craft (Manchester University Press 1997). ISBN 9780719050596
- ^ a b Carolyn Trant (2019). Voyaging Out: British Women Artists from Suffrage to the Sixties. Thames & Hudson. ISBN 9780500021828.
- ^ Marjorie Orpin Gaylard, "Phylis Barron (1890-1964), Dorothy Larcher (1884-1952): Textile Designers and Block Printers" The Journal of the Decorative Arts Society 1890-1940 3(1979): 32-39.
- ^ "Barron and Larcher → Christopher Farr Cloth". christopherfarrcloth.com. Retrieved 1 June 2019.
- ^ Isabelle Anscombe (1981). Omega and After, Bloomsbury and the Decorative Arts. Thames & Hudson. ISBN 0-500-27362-6.
- ^ Hazel Clark, "Printed Textiles: Artist Craftswomen 1919-1939" Ars Textrina 10(1988): 53-70.
- ^ Paul Nash, "Modern English Textiles" Artwork (January–March 1926), reprinted in Andrew Causey, ed., Paul Nash: Writings on Art (Oxford University Press 2000): 50-51. ISBN 9780198174134
- ^ Lesley Jackson, Twentieth Century Pattern Design (Princeton Architectural Press 2007): 69-70. ISBN 9781568987125
- ^ a b c Barley Roscoe, "Barron, (Mabel) Phyllis (1890-1964)" Oxford Dictionary of National Biography (Oxford University Press 2014).
- ^ "Phyllis Barron and Dorothy Larcher", VADS: The Online Resource for Visual Arts, Crafts Study Centre.
- ^ Harrod, Tanya (1999). The crafts in Britain in the 20th Century. New Haven, USA: Yale University Press. p. 63. ISBN 0300077807.
- ^ Bridget Elliot, "Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld" in L. Doan and J. Garrity, eds., Sapphic Modernities: Sexuality, Women and Modern Culture (Springer 2006): 109-128. ISBN 9781403984425
- ^ Annette Carruthers and Mary Greensted, Simplicity or Splendour: Arts and Crafts Living: Objects from the Cheltenham Collections (Cheltenham Art Gallery and Museum 1999): 42. ISBN 9780853317791
- ^ Phyllis Barron and Dorothy Larcher Textile Archive, Crafts Study Centre, University of Creative Arts, Surrey.
External links
edit- Meg Andrews, a collector and scholar of rare textiles, owns the remaining examples of the Barron and Larcher curtains for Girton College, and has a detailed website about their history.