https://orcid.org/0000-0001-6962-6018
![Sample our Museum and Heritage Studies journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5945/TOC-Subject-Sample-2021-Museum-Heritage-Studies.jpg"})
Abstract
The Crutchley Archive is a rare book collection with over a thousand dyeing instructions and colourful dyed patterns from an eighteenth-century wool fabric dyeing business in Southwark, London, owned by John Crutchley and his family. Our research of the outstandingly detailed dyeing materials and methods by text study, dyed textile history, dye analysis and colorimetry reveals unprecedented insight for ‘in grain’ and ‘out of grain’ dyeing of medium to high quality wool fabric using cochineal, stick lac, madder and other dyes, and shows the dyers to be skilled colourists. Other novel discoveries are instructions translated from Flemish or Old Dutch into English, a range of dyed patterns with broadcloth ‘lists’ (distinctive selvedges) and monogrammed dyeing calculations. Customer cash transactions were from 5s to £2,586. This research has resulted in UNESCO Memory of the World Programme recognition of the Crutchley Archive as significant documentary heritage for UK textile history.
Acknowledgements
We express our thanks to: Dr Patricia Dark (Head of Southwark Local History Library and Archive), Lisa Moss (SLHLA Archivist) and Judy Aitken (Curator, Southwark Council) for access to the archive and invaluable discussions and support for purposeful research; Annie Crutchley for her generous contribution and access to the family’s private collections; Ian Mackintosh, archivist of the Worshipful Company of Dyers, for investigating John Crutchley and family in the Company archives; Dr David M. Mitchell for discussion about the Crutchley Archive in the context of his historical research of London trades; research assistants Dr Jing Han (UoG) for dye analysis and Dr Iris Brémaud (L MGC, CNRS, Montpellier, France) for colorimetric calculations; Dr Ilaria Degano (University of Pisa) for mass spectrometry; Gary Bankhead (University of Durham) for his study of the monograms in the calculation books; and Dr Gwen Fereday (University of Middlesex) for early research discussions. This research was funded by The Textile Conservation Foundation and Worshipful Company of Dyers and is gratefully acknowledged.
Notes
1 Historic England Listing, ‘Monument to John Crutchley, Lee Old Churchyard’, entry no. 1392012, https://historicengland.org.uk/listing/the-list/list-entry/1392012 (accessed December 15, 2019).
2 D. M. Mitchell, ‘Good Hot Pressing in the Life of All Cloth: Dyeing, Cloth Finishing, and Related Textile Trades in London, 1650–1700’, in Occupational Titles and Their Classification: The Case of the Textile Trade in Past Times, ed. H. Diederiks and M. Balkestein (Germany: Max-Planck-Institut-für Geschichte in Kommission bei Scripta Mercaturae Verlag, St Katharinen, 1995), pp. 153–75; D. Mitchell, ‘Levantine Demand and the London Textile Trades, 1650–1730’, CIETA Bulletin, 80 (2003), pp. 49–59.
3 L. Ells, S. Fitzgerald, L. Speroni, J. Sutherland and J. Vervoorst, ‘The National Archives C 104/3 “The Wool Sample Books” — Conservation-Digitisation-Historical and Scientific Research-Public Access’ (paper presented at the Book and Paper Group session, American Institute of Conservation (AIC) 36th Annual Meeting, Denver, Colorado, 2008); A. Quye, ‘The National Archives Wool Sample Books C 104/3’ (examination notes made 1–3 April 2014, emailed to J. Vervoost, Head of Conservation, The National Archive 2015).
4 A. Quye, ‘The Crutchley Archive: Initial Assessment Report Southwark Local History Library, 20 June 2014’ (report for Southwark Local History Library and Archive by Centre for Textile Conservation and Technical Art History, University of Glasgow, 22 July 2014).
5 A. Quye, ‘The Crutchley Archive Research Initiation Project: Report 1. Southwark Local History Library & Archive, London. 20–24 June 2016’ (report for Southwark Local History Library and Archive by Centre for Textile Conservation and Technical Art History, University of Glasgow, 15 July 2016); A. Quye, D. Cardon and J. Balfour Paul, ‘The Crutchley Archive Research Initiation Project: Report 2. Southwark Local History Library & Archive, London. 16 December 2016’ (report for Southwark Local History Library and Archive by Centre for Textile Conservation and Technical Art History, University of Glasgow, 16 December 2016).
6 UNESCO, ‘UK Archives Awarded United Nations Recognition International Archive Day — 9 June 2020’, https://spark.adobe.com/page/UknNDTT6srpx8/ (accessed 16 June 2020).
7 A. Crutchley, conversation with authors at SLHLA to discuss and share copies and transcriptions of private family documents, 22 June 2016; conversation between D. Mitchell and A. Quye about the Crutchley family and their dyehouses, by telephone 4 February 2020.
8 I. Mackintosh, conversation at Dyers Hall with authors on 23 June 2016 to discuss Guildhall archive research for John Crutchley with subsequent email exchanges of research by I. Mackintosh about Crutchley references in the British Library East India Company Archives, 11 July 2016.
9 Guildhall Manuscript 8171/1, Dyers Company Apprentice Bindings 1649–1706, researched by I. Mackintosh and emailed to the authors on 12 December 2016; Register of Freeman 1650 to 1703 (London: Worshipful Company of Dyers), 8167/1, researched by I. Mackintosh and emailed to the authors on 17 July 2016.
10 A. Crutchley, conversation 22 June 2016.
11 The National Archive C 12/907/15, researched by I. Mackintosh and emailed to the authors on 12 December 2016.
12 Anon., ‘Crutchley Dyeing Business’, undated. Research notes given to the Crutchley family by D. Mitchell, shared in conversation between A. Crutchley and the authors on 22 June 2016, and discussed between D. Mitchell and A. Quye by telephone 4 February 2020 and email 26 June 2020.
13 A. Crutchley, conversations at the family residence with J. Balfour Paul to discuss and photograph private family documents, 19–20 July 2016.
14 Lewisham Archives database for 1725/26, in D. Mitchell’s research notes shared in conversation with A. Crutchley, 22 June 2016.
15 TNA PROB 11/616/217, proved 11 July 1727 (Kew, London: The National Archive), in D. Mitchell’s research notes shared in conversation with A. Crutchley, 22 June 2016.
16 CLRO Orphans Court 1116, dated 25 June 1675 in D. Mitchell’s research notes shared in conversation with A. Crutchley, 22 June 2016.
17 R. Hyde, ed., A. to Z. of Georgian London by John Rocque (London: London Topographical Society, 1982), Plan 13 Ab.
18 Hyde, A. to Z. of Georgian London, Plan 13 Bc; Mitchell, ‘Good Hot Pressing in the Life of All Cloth’, p. 158, showing Webb’s dyehouse on a map of Thameside dyehouse locations between 1660 and 1740.
19 Hyde, A. to Z. of Georgian London, Plan 13 Bb; Mitchell, ‘Good Hot Pressing in the Life of All Cloth’, pp. 158–60, with a dyehouse location in the Maese for Trimmer on a map of Thameside dyehouse locations between 1660 and 1740.
20 G. Rebora, ed., Un Manuale Di Tintoria Del Quattrocento (Milan: Dott. A. Giuffrè, 1970).
21 D. Cardon, The Dyer’s Handbook: Memoirs of an 18th Century Master Colourist (Oxford and Philadelphia: Oxbow Books, 2016).
22 Library of Congress, ‘Pote, Joseph, 1704–1787’, LC Name Authority File (LCNAF) (Washington, D.C.: Library of Congress), http://id.loc.gov/authorities/names/n85089749.html (accessed 20 June 2020).
23 Crutchley Archive, SLHLA 2011/5-13 in Southwark Local History Library and Archive, London, fol. 26v; ibid., fol. 14v.
24 D. Cardon, Des Couleurs pour les Lumières — Antoine Janot, teinturier ocitan, 1700–1778 (Paris: CNRS Editions, 2019), p. 61; R. A. Feldman, ‘Recruitment, Training and Knowledge Transfer in the London Dyers’ Company, 1649–1826’ (PhD diss., University of London, 2005), pp. 148–79.
25 D. Brewster, Edinburgh Encyclopaedia. 1832 (Philadelphia: Joseph and Edward Parker, 1832), p. 37.
26 The Library of the Society of Friends, The Quaker Calendar: Research Guide (London: The Library of the Society of Friends, 2018).
27 Hyde, A. to Z. of Georgian London, Plans 4Ac–4Bc.
28 D. Cardon, Mémoires de teinture: voyage dans le temps chez un maître des couleurs (Paris: CNRS Editions, 2013); Cardon, The Dyer’s Handbook; Cardon, Des couleurs pour les Lumières.
29 Cardon, The Dyer’s Handbook, p. 49.
30 M. Hellot, M. Macquer and M. Le Pileur D’Apligny, The Art of Dyeing Wool, Silk and Cotton, trans. R. Baldwin (London: Printed for R. Baldwin, 1789), p. 241.
31 Hellot et al., The Art of Dyeing Wool, Silk and Cotton, p. 242; ibid., p. 237.
32 B. L. Ford, ‘Monitoring Colour Change in Textiles on Display’, Studies in Conservation, 37 (1992), pp. 1–11.
33 Cardon, Mémoires de teinture; Cardon, The Dyer’s Handbook; Cardon, Des couleurs pour les Lumières.
34 D. Cardon, I. Brémaud, A. Quye and J. Balfour Paul, ‘Exploring the Colours of the Past in the Steps of Ancient Dyers’, The Textile Museum Journal, 47 (2020, in press).
35 Cardon, The Dyer’s Handbook, p. 31.
36 Crutchley Archive, SLHLA 2011/5-8, fol. 3r, and SLHLA 2011/5-3 ‘Pattern Book No. 3’ pattern ‘381, May 1741’, Southwark Local History Library and Archive, London.
37 J. Balfour Paul, Indigo: Egyptian Mummies to Blue Jeans (London: British Museum Press, 2011).
38 Cardon, The Dyer’s Handbook, p. 27.
39 W. Partridge, J. D. L. Mann and K. G. Ponting, A Practical Treatise on Dying of Woollen, Cotton, and Skein Silk: With the Manufacture of Broadcloth and Cassimere: Including the Most Improved Methods in the West of England, vol. 1 (Edington, Wiltshire: Pasold Fund, 1873), p. 123.
40 British Standards Institution, BS EN 16893:2018: Conservation of Cultural Heritage: Specifications for Location, Construction and Modification of Buildings or Rooms Intended for the Storage or Use of Heritage Collections (London: British Standards Institution, 2018).
41 J. Han, ‘The Historical and Chemical Investigation of Dyes in High Status Chinese Costume and Textiles of the Ming and Qing Dynasties (1368–1911)’ (PhD diss., University of Glasgow, 2016); I. Degano, E. Ribechini, F. Modugno and M. P. Colombini, ‘Analytical Methods for the Characterization of Organic Dyes in Artworks and in Historical Textiles’, Applied Spectroscopy Reviews, 44 (2009), pp. 363–410; A. Quye, ‘Chromatography’, in Conservation Science in Libraries, ed. D. Howell and L. Snyders (Berlin: De Gruyter, 2020), pp. 197–236.
42 A. Quye and M. Strlič, Institute of Conservation Heritage Science Group Ethical Sampling Guidance (London: Institute of Conservation, 2019).
43 Hellot et al., The Art of Dyeing Wool, Silk and Cotton, p. 246.
44 Partridge, A Practical Treatise on Dying of Woollen, Cotton, and Skein Silk.
45 Etat des Manufactures des draps et autres étoffes fabriqués dans les diocèses de Castres et de Saint-Pons, C/2493 in the Archives départementales de l’Hérault, France; Cardon, Des couleurs pour les Lumières.
46 Arrêt du Conseil d’Etat, 18 April 1713, 9 C 11 in the Archives départementales de l’Aude, France.
47 Cardon, The Dyer’s Handbook.
48 Cardon et al., ‘Exploring the Colours of the Past in the Steps of Ancient Dyers’.
49 N. W. Posthumus, ‘De Industrieele Concurrentie Tusschen Noor I — En Zuidnederlandsche Nijverheidscentra in de XVIIe en XVIIIe eeuw’, in Mélanges d’Histoire offerts à Henri Pirenne à l’occasion de sa Quarantième année d’enseignement à l’Université de Gand, 1886–1926, ed. H. Pirenne (Brussels: Vromant,1926), pp. 369–78; S. Fairlie, ‘Dyestuffs in the Eighteenth Century’ The Economic History Review, 17 (1965), pp. 488–510.
50 I. Mackintosh, email correspondence with authors, 9 May 2018.
51 Crutchley Archive, SLHLA 2011/5-13, fol. 54v; P. E. Jones, ‘The Guilds of the City of London with Special Reference to the Worshipful Company of Dyers’, Journal of the Society of Dyers and Colourists, 71 (1955), pp. 496–501; R. Feldman, ‘Dyeing and the London Dyers’ Company: Membership, Craft, and Knowledge Transmission, 1649–1829’, The London Journal, 39 (2014), pp. 37–58.
52 F. Sprint, D. Midwinter, G. Conyers and T. Ballard, The Whole Art of Dying. In Two Parts, trans. W. Pearson (London: printed for William Pearson, 1705), p. 43; Hellot et al., The Art of Dyeing Wool, Silk and Cotton, pp. 168, 216, 294, 326; A. Ellis, The Country Dyer’s Assistant (Brookfield, MA: printed by E. Merriam & Co. for the author, 1798), pp. 77 and 83; C.-L. Berthollet, Elements of the Art of Dyeing (London: printed by S. Couchman and sold by J. Johnson, St. Paul’s Church-Yard, 1791), p. 325.
53 J. J. Hummel, The Dyeing of Textile Fabrics (London: Cassell & Co., 1888), pp. 291–92.
54 S. F. Elton, Cloth Seals: An Illustrated Reference Guide to the Identification of Lead Seals Attached to Cloth. (Oxford: Archaeopress Publishing, 2017), pp. 195–204; G. Bankhead, email correspondence with A. Quye, October 2016.
55 Elton, Cloth Seals, p 197; J. Balfour Paul and I. Whitworth, ‘Cloth Dyes and Dyeing in the 18th Century’, in Claude Passavant and His Exeter Cloth Dispatch Book, 1763–5, ed. T. Grey (Devon and Cornwall: Devon and Cornwall Record Society, in prep.).
56 Jones, ‘The Guilds of the City of London with Special Reference to the Worshipful Company of Dyers’, p. 499.
57 J. Ferguson, Books of Secrets: A Paper Read Before the Bibliographical Society, 21 April 1913 (London: The Bibliographical Society, 1914), pp. 28–31.
58 Ells, ‘The Wool Sample Books’.
59 The Wool Sample Books, TNA C 104/3, in The National Archive, Kew, London; Wallbridge Mill, Frome Dye Pattern Book — West Country Woollens 1750–Mid 19th Century, 3 vols, in Bath Reference Library, Bath, England; Welshmill Mills of Frome, Welshmill Dyehouse archive C103/4, in The National Archive, Kew, London; T. Grey, ed., Claude Passavant and His Exeter Cloth Dispatch Book, 1763–5 (Devon and Cornwall: Devon and Cornwall Record Society, in prep.); John Standerwick of Rydiness [Buckland St Mary] and Hermitage [Broadway], 1717–1777, A/ALU/1, in Somerset Heritage Centre, Somerset, England — this is the title of a modern cover to a book of patterns with dyeing annotations from around 1760.
60 A. Quye, K. Hallett and C. Herrero, Wroughte in Gold and Silk: Preserving the Art of Historic Tapestries (Edinburgh: NMS Enterprise Publishing, 2009); J. Kirby, M. van Bommel and A. Verhecken, Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and Their Historical Sources (London: Archetype Publications, 2014); K. Staubermann, Reconstructions: Recreating Science and Technology of the Past (Edinburgh: National Museums Scotland, 2009); J. Han and A. Quye, ‘Dyes and Dyeing in the Ming and Qing Dynasties in China: Preliminary Evidence Based on Primary Sources of Documented Recipes’, Textile History, 49 (2018), pp. 44–70; J. H. Wertz, A. Quye and D. France, ‘Taking Historical Chemistry to the Bench: A New Perspective for Modern Chemists through the Re-Creation and Analysis of 19th-Century Scottish Turkey Red Dyed Textiles’, Mitteilungen: Gesellschaft Deutscher Chemiker, 25 (2017), pp. 302–28.
61 P. A. Sykas, The Secret Life of Textiles: Six Pattern Book Archives in North West England (Bolton: Bolton Museum, Art Gallery & Aquarium, 2005); J. Alcántara-García and M. Nix, ‘Multi-Instrumental Approach with Archival Research to Study the Norwich Textile Industry in the Late Eighteenth and Early Nineteenth Centuries: The Example of a Norwich Pattern Book Dated c. 1790–1793’, Heritage Science, 6 (2018), pp. 1–15.
62 C. Kamposiori and S. Crossley, Evidencing the Impact and Value of Special Collections (London: Research Libraries UK, 2019), pp. 14–16.
Additional information
Notes on contributors
Anita Quye
Dr Anita Quye is Senior Lecturer in Conservation Science and Head of History of Art at the University of Glasgow. The focus of her research and publications is the scientific investigation of material culture artefacts for significance and preservation through their material composition, and her textile specialism is the chemical characterisation and analysis of natural and synthetic historical dyes. She presents and publishes widely and has initiated interdisciplinary research and knowledge exchange networks for textile manufacture and historical plastics. Prior to her lectureship, Anita was Principal Organic Analytical Scientist for National Museums Scotland.
Dominique Cardon
Dr Dominique Cardon is Emerita Directeur de Recherche at the French National Centre of Scientific Research (CNRS, CIHAM/UMR 5648, Lyons). Her long-pursued research themes are the history and archaeology of textile production and dyeing with natural colorants. Author of reference books and articles on natural dyes from all parts of the world, she is currently publishing ancient dyers’ books with dyed textile samples. She has acted as Scientific Director of International Symposiums on Natural Dyes in India, South Korea, France, Madagascar and China, and been awarded the Silver Medal of CNRS (2011), the UNESCO Medal ‘Thinking and Building Peace’ (2006), made Chevalier de la Légion d’Honneur in France (2015) and Chevalier de l’Ordre des Arts, des Lettres et de la Culture of Madagascar (2017).
Jenny Balfour Paul
Dr Jenny Balfour Paul is an international lecturer, traveller, writer, dyer, artist and curator, and author of Indigo in the Arab World, Indigo: Egyptian Mummies to Blue Jeans, Deeper than Indigo and numerous papers and articles. She is Honorary Senior Research Fellow at Exeter University, Fellow and former Trustee of the Royal Geographical Society, Fellow of the Royal Asiatic Society and Explorers Club, and immediate past President of UK's Association of Guilds of Weavers, Spinners and Dyers. Curator for exhibitions including the Whitworth Art Gallery’s UK touring ‘Indigo: A Blue to Dye For’; a partner in ‘Silk Road Connect’ for Yo Yo Ma’s 2009 Silk Road Project; and consultant for documentary films and symposia including ‘Indigo Sutra’ in Kolkata in 2017. Her collections are in major UK museums.