James Leman, Silk Designer
The oldest surviving set of silk designs in the world, James Leman’s album contains ninety ravishingly beautiful patterns created in Steward St, Spitalfields between 1705 and 1710 when he was a young man. It was my delight to visit the Victoria & Albert Museum and study the pages of this unique artefact, which is the subject of an interdisciplinary research project under the auspices of the V&A Research Institute, funded by the Andrew W. Mellon Foundation. The Leman Album offers a rare glimpse into an affluent and fashionable sphere of eighteenth century high society, as well as demonstrated the astonishing skill of the journeyman weavers in East London three hundred years ago.
James Leman (pronounced ‘lemon’ like Leman St in Aldgate) was born in London around 1688 as the second generation of a Huguenot family and apprenticed at fourteen to his father, Peter, a silk weaver. His earliest designs in the album, executed at eighteen years old, are signed ‘made by me, James Leman, for my father.’ In those days, when silk merchants customarily commissioned journeyman weavers, James was unusual in that he was both a maker and designer. In later life, he became celebrated for his bravura talent, rising to second in command of the Weavers’ Company in the City of London. A portrait of the seventeen-twenties in the V&A collection, which is believed to be of James Leman, displays a handsome man of assurance and bearing, arrayed in restrained yet sophisticated garments of subtly-toned chocolate brown silk and brocade.
His designs are annotated with the date and technical details of each pattern, while many of their colours are coded to indicate the use of metallic cloth and different types of weave. Yet beyond these aspects, it is the aesthetic brilliance of the designs which is most striking, mixing floral and architectural forms with breathtaking flair in a way that appears startling modern. The Essex Pink and Rosa Mundi are recognisable alongside whimsical architectural forms which playfully combine classical and oriental motifs within a single design. The breadth of James Leman’s knowledge of botany and architecture as revealed by his designs reflects a wide cultural interest that, in turn, reflected flatteringly upon the tastes of his wealthy customers.
Until last year, the only securely identified woven example of a James Leman pattern was a small piece of silk in the collection of the Art Gallery of South Australia. Miraculously, just as the V&A’s research project on the Leman Album was launched, a length of eighteenth-century silk woven to one of his designs was offered to the museum by a dealer in historical textiles, who recognised it from her knowledge of the album. The Museum purchased the silk and is investigating the questions that arise once design and textile may be placed side by side for the first time. With colours as vibrant as the day they were woven three hundred years ago, the sensuous allure of this glorious piece of deep pink silk adorned with elements of lustrous green, blue, red and gold shimmers across the expanse of time and is irresistibly attractive to the eye. Such was the extravagant genius of James Leman, Silk Designer.
On the left is James Leman’s design and on the right is a piece of silk woven from it, revealing that colours of the design are not always indicative of the woven textile
The reverse of each design gives the date and details of the fabric and weave
Portrait of a Master Silk Weaver by Michael Dahl, 1720-5 – believed to be James Leman
All images copyright © Victoria and Albert Museum, London
With grateful thanks to: Dr Olivia Horsfall Turner, Senior Curator of Designs – Dr Victoria Button, Senior Paper Conservator – Clare Browne, Senior Curator of Textiles – Dr Lucia Burgio, Senior Scientist and Eileen Budd, V&A Research Institute Project Manager
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Such an interesting piece and stunning books by James Leman! Thank you
Truly beautiful. It reminds me of Robert Hooke and his drawings on the HMS Beagle for Darwin.
When I saw them at Kew Library.. Breathtaking.
Beautiful and most interesting. But I am surprised at the assertion that these are the oldest surviving silk textile designs in the world. Surely Japanese kimono designs have been preserved for longer than this?
Fantastic design creations which are 300 years old after all. And all of this was actually developed without a computer!
Love & Peace
ACHIM
What a stunning collection. Skimming through the images, before I’d read the text, I thought that really should be in the V&A!
Absolutely astonishingly gorgeous and skilful.
Who could ever fail to be stunned by the beauty of James Leman’s designs and what a delight to see some of them again this morning. Thank you GA.
Stunningly beautiful, but it isn’t made clear if these textiles are actually on show to the public?
Thanks, as always, for interesting information I would otherwise not know about.
Stunningly beautiful!
The phrase “eye candy” comes to mind! The joyous/rampant colors here are absolutely stunning.
And the sophistication of the patterns. Most of all, I love that all of these patterns are gathered into BOOK form. As a History of Costume devotee, I never tire of researching old pattern/sample books. Perhaps one day the Victoria & Albert Museum will do a facsimile volume?
What a glorious treat to begin the day with a peek at these magnificent volumes.
Thank you, GA.
Such variety, creativity, beauty. Thank you for another fascinating article.
Fascinating history of the Weavers, and such impressive skills. Patterns above look so bright and clear, they still totally fit today’s modern style of prints – 300 years later. Now that’s impressive!
Every day is a delight to see what you have posted, G.A, but today’s offering is exceptional. What an amazing artifact! Thank you. A moment of beauty to reflect on, in an unfortunately ugly world.