Enfilade

‘Bedford Gift Service’ tureen and stand, Sèvres, decoration by Jean-Pierre Ledoux, 1761–63
(Woburn Abbey Collection)

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From the press release (via Art Daily) for the exhibition at Compton Verney:

History in the Making: Stories of Materials and Makers, 2000BC to Now
Compton Verney Art Gallery and Park, Warwickshire, 21 October 2023 — 11 February 2024

Curated by Oli McCall and Hannah Obee

History in the Making: Stories of Materials and Makers presents the stories of the people and processes behind outstanding examples of historic and contemporary craft by bringing together a treasure-trove of objects in a unique exploration and celebration of materials and making. Installed in both suites of temporary exhibition galleries at Compton Verney, the exhibition presents historic craft masterpieces from Woburn Abbey and Compton Verney alongside contemporary creations by some of the most exciting makers working today, many of which are being loaned for the first time by the Crafts Council, the UK’s national charity for craft.

Works on display include ancient Chinese ceramics from Compton Verney’s internationally renowned Chinese collection, 18th-century Indian bed textiles from Woburn Abbey, painted silks by award-winning artist and designer Christian Ovonlen, and glazed stoneware vessels by rising star ceramic artist Shawanda Corbett. By displaying the historic in dialogue with the new, the exhibition uncovers the skilful craft processes, technical innovations, and material properties of decorative objects across the ages, while also highlighting the environmental and ethical considerations around the use of natural materials. Each gallery focuses on a different material group—textile, organic, metal, stone, clay, and wood—providing a framework within which contemporary issues such as globalisation and colonial economies, social class and the importance of craft traditions in diverse cultures will be explored.

A highlight of History in the Making is the chance to see one of Woburn Abbey’s newly conserved Mortlake Tapestries. Dating from the 1660s, these huge wall hangings have been painstakingly conserved over a period of five years. Inspired by Raphael’s cartoon for The Miraculous Draught of Fishes (ca. 1515–16, on loan to the V&A from His Majesty The King), originally commissioned by Pope Leo X for the Sistine Chapel, the tapestry shows two boats on the waters of lake Galilee; on the left Christ is seated, with the Apostles Peter and Andrew in astonishment before him, their boat full of miraculous fish. The Mortlake manufactory was established in 1619 in the village of Mortlake, west of London. Under royal patronage, the workshop was able to rival continental centres such as Brussels and Paris for high-quality textiles. The tapestry from Woburn Abbey is being displayed in a gallery with pieces by textile artist and ceramicist Matt Smith, who has reworked vintage tapestries by unpicking and re-stitching elements—often faces—to illustrate how historical narratives are never objective accounts of truth, alluding to the marginalisation of queer people in society. His work often reshapes objects from their original uses to highlight marginalised points of view and hidden stories.

The exhibition includes examples of the Sèvres dinner service given by Louis XV of France to the Duke and Duchess of Bedford in 1763. The Sèvres ceramics have provided an intriguing opportunity for the exhibition’s co-curator Hannah Obee to delve into the iconic French manufacturer’s archives. She notes that “in the 18th century, luxury porcelain was about enhancing the prestige and wealth of nations. The individuals who made it were not part of the narrative, unlike today. However, the Sèvres archives provide a rich resource of information; so, we can now put names and sometimes faces to the objects they created. This is a unique feature of the show at Compton Verney.”

The exhibition also contains a set of bed textiles made in the 1750s in Gujarat, India. “Even now their colours are amazing and so vibrant,” observes Compton Verney senior curator Oli McCall. “The Bedford family had an agent in India who reported back to them about the people making them, who were all women. From these letters we gain valuable insights into the textile trade in the 18th century, anticipating modern globalisation.”

History in the Making also includes objects, once prized, but now seen as problematic, made from natural materials such as coral, tortoiseshell, and ivory. McCall, Obee, and their colleagues decided to include several of these pieces to reflect how makers once saw artistic and creative potential, without questioning the environmental damage that would result from the huge demand for such items. To demonstrate this, History in the Making showcases the work of contemporary makers who are sourcing sustainable materials for their work.

The display of historic silverware such as 18th-century candlesticks and tableware, acts as a reminder of the importance of human migration in the dissemination of craft expertise and techniques and the challenges faced by new arrivals. Huguenot silversmiths, for example, were members of the French Protestant faith who faced persecution in their homeland with over 50,000 Huguenots coming to Britain through the 16th to 18th-centuries. Their work and that of the people who made the Mortlake Tapestries, worked in the Sèvres factory, and produced the Indian bed textiles are just a handful of examples of how Britain connected with the wider world. The exhibition demonstrates and reminds us of this, whilst shining a spotlight on the things that people created for themselves as part of everyday life. Adi Toch’s 2020 print Precious Disposables, on loan from the Crafts Council, depicts a pair of the maker’s latex gloves covered in golden-hued brass dust. Made during the Coronavirus pandemic, the work invites us to think about how what is considered valuable shifts depending on social, political, and environmental concerns.

In the final room, pieces by some of the most exciting young makers working at the forefront of scientific and material innovation are displayed, highlighting the environmental responsibility that has become a focus of contemporary craft practices proposing more planet-friendly materials and methods. Diana Scherer uses plant roots to create ‘living fabrics’, which she fashions into wall hangings and framed works of art. Nicky James, meanwhile, makes garments in wool, but has found a way to make them more resilient by mimicking strong structures found in nature, such as the giant squid beak. Other makers are using cutting-edge innovation to work with ‘leather’ made from mushrooms, and even using silk worm cocoons to create furniture.

Geraldine Collinge, Director of Compton Verney, states: “We are delighted to be able to collaborate with Woburn Abbey and the Crafts Council on this ambitious exhibition, which will give visitors a unique opportunity to explore outstanding examples of craft by many of the leading makers past and present and reflect on the universal importance of materials and making. This exhibition reflects the bringing together of the historic and contemporary to tell stories, which is something we aim to do across our creative programme at Compton Verney. Throughout the winter and into the start of 2024 we will be providing a host of hands-on craft workshops and activities where visitors can get creative and pick up new skills.”