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Victoria and Albert Museum: Explore the Collections

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Not currently on display at the V&A

Pattern book of textile sample swatches of assorted fibres and designs from different parts of Japan. The book is composed of double folded sheets of paper, strongly wire-marked, held together by three strips of blue, brown, and white check cloth of cotton and waste silk.

Each page has on one side one or two samples, with Japanese characters and a handwritten explanation in English:

Province of Tamba: five samples of cotton and waste silk, in check and stripe patterns in blue, brown and white.

Loo Choo Islands: one sample of banana fibre.

Chinese summer wear 'Sho ran po', one sample, silk basted with glue (?).

'Hachi jo jima': three samples of silk.

Akita province: one sample of 'Kihachi jo' silk.

Youezawa town: one sample of 'Kihachi jo' silk.

Province of Saitama, Chichibu moutains: two samples of 'Meisen' silk.

Tochigi province: one sample of Yuki 'Tsumugi' silk.

Nara Sarashi: one sample of linen.

Niigata, Etchigo province: one sample of linen.

Etchigo province: three samples of linen.

Ainu-atsushi: three samples of elm bark fibre.

Category

Object Type

Materials and Techniques

Paper, cotton, silk, banana fibre, linen and elm bark fibre

Brief Description

Pattern book of textile samples, Japan, late 19th century-early 20th century

Physical Description

Pattern book of textile sample swatches of assorted fibres and designs from different parts of Japan. The book is composed of double folded sheets of paper, strongly wire-marked, held together by three strips of blue, brown, and white check cloth of cotton and waste silk.

Each page has on one side one or two samples, with Japanese characters and a handwritten explanation in English:

Province of Tamba: five samples of cotton and waste silk, in check and stripe patterns in blue, brown and white.

Loo Choo Islands: one sample of banana fibre.

Chinese summer wear 'Sho ran po', one sample, silk basted with glue (?).

'Hachi jo jima': three samples of silk.

Akita province: one sample of 'Kihachi jo' silk.

Youezawa town: one sample of 'Kihachi jo' silk.

Province of Saitama, Chichibu moutains: two samples of 'Meisen' silk.

Tochigi province: one sample of Yuki 'Tsumugi' silk.

Nara Sarashi: one sample of linen.

Niigata, Etchigo province: one sample of linen.

Etchigo province: three samples of linen.

Ainu-atsushi: three samples of elm bark fibre.

Dimensions

Length: 12.5in

Width: 8.5in

Length: 31.4cm

Width: 21.4cm

Marks and Inscriptions

'Samples of old Japanese / Stuffs' (Written on the cover)

'Given to Bernard Leach / by Mr. Uyemura 1934?' (Written on the cover)

'Rokuro Uyemura' (Written on the cover)

'BHL 1935. Vegetable dyed stuffs made about 50 to 60 years ago' (Written inside the cover)

Credit line

Given by Bernard Leach, CBE

Production

Bibliographic Reference

Jackson, Anna. Japanese Textiles in the Victoria & Albert Museum. London: V&A Publications, 2000, plate 3

Collection

Accession Number

About this object record

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Pattern Book | Unknown | V&A Explore The Collections

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Not currently on display at the V&A Pattern book of textile sample swatches of assorted fibres and designs from different parts of Japan. The book is composed of double folded sheets of paper, strongly wire-marked, held together by three strips of blue, brown, and white check cloth of cotton and waste silk.

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Creating fabric samples

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Manipulation of mark making

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Mark making for digital print workshop

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Recycling old fabrics

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The photographer Stephen Mallon specializes in documenting man's industrial-scale creations. During his career, he's focused his lens on the recycling industry, the largest floating structure ever built, and the transportation and installation of a new bridge in New York City. So it wasn't surprising when, in 2008, he was drawn to an unusual program spearheaded by the MTA New York City Transit system: a multi-phased artificial reefing project that saw the shells of 2,580 decommissioned subway train cars repurposed and dropped into coastal waters off New Jersey, Delaware, Maryland, Virginia, South Carolina, and Georgia, between 2001 and 2010.

Mallon arranged to follow the outdated subway cars as they were prepared and cleaned, loaded onto barges, and finally plopped into the sea. As he traveled with a crew in a tugboat to get his shots, the photographer developed his sea legs.

"I was never underwater, so just needed to keep myself steady on the back of the boat. It's kind of like surfing or skiing-just keep your balance, keep the horizon line straight, bend your knees, and don't fall overboard," Mallon says.

With his Canon camera, Mallon shot more than 6,000 frames (only a tiny fraction of which are shown in a new exhibit, Sea Train: Subway Reef Photos by Stephen Mallon, currently on display at the New York Transit Museum) over the course of three years.

Though the subway car reefing project came to a close in 2010, its effects are evident today. "The subway car reefs have created almost 2 million cubic feet of new habitat for fish and invertebrates off South Carolina," says Robert Martore, artificial reef coordinator with the South Carolina Department of Natural Resources.

Not all of the repurposed subway cars have performed as well as hoped, however. The "Redbird" models have held up well in deep waters ("about 90 percent of them remained intact and upright after 15 years," Martore says), but the "Brightliner" cars have been a disappointment, with many collapsing after less than a year. Regardless, all of the subway car reefs have attracted attention from fishermen and divers, including Martore himself.

"The subway cars have always been some of my favorite diving off South Carolina. The variety of fish life is usually outstanding," he says. "Occasionally we see pods of dolphin coming to feed on the tremendous schools of baitfish above the cars, and sea turtles are often found sleeping in and under the cars."

Coordinates for the artificial reefs in South Carolina are available to the public, so anyone with access to a boat can visit them. For those who can't make it in person, Mallon's hard-earned, large-format photos provide an intimate view of how machines that once transported people in the city found new life as homes to sea creatures in nature.

Sea Train: Subway Reef Photos by Stephen Mallon is on exhibit at the New York Transit Museum through June 16, 2019.

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Photographing the New York City Subway Cars That Retired as Artificial Reefs

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The photographer Stephen Mallon specializes in documenting man's industrial-scale creations. During his career, he's focused his lens on the recycling industry, the largest floating structure ever built, and the transportation and installation of a new bridge in New York City.

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Victorian seaweed collections can be used to monitor climate change impact on marine ecology

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Anna Atkins (1799-1871) was an English botanist and, some argue, the very first female photographer, most noted for using photography in her books on various plants. Having grown up with her father John George Children - a chemist, mineralogist, and not too successful zoologist - she was surrounded by science and also contributed to her father's work. Her engravings of shells can be found in her father's translated edition of Jean-Baptiste de Monet Lamarck's Genera of Shells, published in 1823, but it is her work with cyanotypes that she is best known for. Through her father and her husband, Atkins came to know both William Henry Fox Talbot, a pioneer of early photography who invented a process of creating photographs on paper treated with salt and a solution of silver nitrate, and Sir John Herschel, the inventor of the cyanotype printing method. She became interested in the cyanotype process which produced images through so-called sun-printing. The object is placed on paper which has been treated with ferric ammonium citrate and potassium ferricyanide, after which it is exposed to sunlight and then washed in water, leading to the uncovered areas of the paper turning a dark blue. The process, known as blueprinting, was later used to reproduce architectural and engineering drawings, but Atkins chose to use it for what is considered to be the first work with photographic illustrations, namely her Photographs of British Algae: Cyanotype Impressions (1843). Only 13 copies of the handwritten book are known to exist, some of which are in various stages of completion. Later, she would collaborate with another female botanist, Anne Dixon (1799-1864), in making two more books featuring cyanotypes: Cyanotypes of British and Foreign Ferns (1853) and Cyanotypes of British and Foreign Flowering Plants and Ferns (1854). Atkins became a member of the Botanical Society in London in 1839, one of the few scientific societies which was open to women.

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Cyanotypes of British Algae by Anna Atkins (1843)

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Anna Atkins (1799-1871) was an English botanist and, some argue, the very first female photographer, most noted for using photography in her books on various plants. Having grown up with her father John George Children - a chemist, mineralogist, and not too successful zoologist - she was surrounded by science and also contributed to her father's work.

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Article on if the pandemic could change attitudes on climate change initiatives

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Article on if the pandemic could change attitudes on climate change initiatives

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Whether COVID-19 is a tipping point for climate action depends on what happens next

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When COVID-19 brought the world to a standstill, it also triggered a sharp drop in energy use and global carbon emissions. This drop won't be enough to reach the goals of the Paris Agreement and keep overall warming below 2 °C-but careful planning for the post-pandemic recovery could put us on the right path, a [...]

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Arts and science charity focusing on climate change awareness

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Arts and science charity focusing on climate change awareness

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Collaging scraps to make custom fabric

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Possible bar code print inspo

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Water Pollution due to factory’s dumping die

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Padding used to make a puffer

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Raeburn - scraps for padding

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Boats and boating--Equipment and supplies

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0 waste fashion label uses scrap material to stuuff puffa coats

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The post-couture collective- clothing that fits together less waste more sustainable.

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Unmade - knitwear designed by the customer made to order. This doesent create a demand for the product.

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Unmade - knitwear designed by the customer made to order. This doesent create a demand for the product.

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Could possibly weave plastics to create tartan

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A chair made from fabric fibres found in the ocean

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A chair made from fabric fibres found in the ocean

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Mass Production

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Collage inspo

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Mass Fish Farming

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I like the idea of up cycling different garment (and the tartan)

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Mass Clothing Production - Waste Clothing