Anna maria garthwaite biography

Garthwaite, Anna Maria &#; Silk-weaving was her forte

Anna Maria Garthwaite  ()

Anna Maria Garthwaite was the daughter of a wealthy Rev Ephraim Garthwaite Rector of Harston, near Knipton, and his wife Rejoyce (nee Hausted).

The family lived mainly in Grantham.

Anna Maria left Grantham to live in York with her twice-widowed sister Mary from to They moved to a house in Princelet Street in the silk-weaving district of Spitalfields east of the City of London where Anna Maria created over designs for woven silks there over the next 30 years.

Some of her original designs in watercolour from the s through have survived and are now in the collection of the Victoria and Albert Museum. Many of these designs are dated and annotated with weaving instructions and the names of the weavers to whom they were sold.

Her work is based on botanical forms and her designs change to become closer to real nature from to a point it&#;s often easy to recognize the flower variety. The favorites are auriculas, honeysuckle, daisies, tulips, convolvulus tricolor, lilies and aloe leaves.

She died aged 75 and was buried at Christ Church, Spitalfields.

Filed Under: Hall of Fame

Intriguing History

This entry is part 2 of 5 in the series Intriguing London


Intriguing London

Anna Maria Garthwaite, a remarkable story about a remarkable woman

In , Anna Maria Garthwaite came to London to become one of the most prodigious and talented silk designers ever. She produced over a thousand designs in a thirty five year period and showed great business skills as well prodigious creative talent.

Name plate on the house of Anna Maria Garthwaite Spitalfields

Anna Maria came to Spitalfields with the express intention of using her artistic talents in the silk industry. She settled in an area where almost every building was related to the production of silk. She purchased a house on the corner of Wilkes St and Princelet St where she would receive clients and create her intricate floral designs. The house today looks much as it would have done when Anna Maria Garthwaite purchased it.

It is not known how she learnt the art of design but perhaps more interestingly she understood the concepts of scaling in design and the use of repeated patterns. Many of her patterns are still in existence and carry details of the design, the date and sometim

Anna Maria Garthwaite: a Spitalfields silk designer

It is a well-known fact that the Spitalfields district of London was, during the eighteenth century, entirely populated by French Huguenot refugees, all busy weaving away in their loft workshops, producing gorgeous silks for worldwide trade, and breeding auriculas and other ‘florists’ flowers’ (cuttings and seeds of which they had brought with them as they fled across the Channel) in their leisure moments. As with many well-known facts, this is true only up to a point. Consider, as a counter-factual, the career of Anna Maria Garthwaite, spinster daughter of an Anglican clergyman, whose designs for woven silk (many of them happily preserved in the Victorian & Albert Museum) were hugely important in the success of the silk industry.

Since I like nothing better (in London and in good weather) than a potter around Spitalfields (taking in a browse and a coffee at the Town House in Fournier Street), I was already aware of Garthwaite’s house and blue plaque on Princelet Street, but I have found out a lot more since reading Portrait of a Woman in Silk: Hidden Histories of the British Atlantic World, by American historian Zara

It is a well-known fact that the Spitalfields district of London was, during the eighteenth century, entirely populated by French Huguenot refugees, all busy weaving away in their loft workshops, producing gorgeous silks for worldwide trade, and breeding auriculas and other ‘florists’ flowers’ (cuttings and seeds of which they had brought with them as they fled across the Channel) in their leisure moments. As with many well-known facts, this is true only up to a point. Consider, as a counter-factual, the career of Anna Maria Garthwaite, spinster daughter of an Anglican clergyman, whose designs for woven silk (many of them happily preserved in the Victorian & Albert Museum) were hugely important in the success of the silk industry.

Since I like nothing better (in London and in good weather) than a potter around Spitalfields (taking in a browse and a coffee at the Town House in Fournier Street), I was already aware of Garthwaite’s house and blue plaque on Princelet Street, but I have found out a lot more since reading Portrait of a Woman in Silk: Hidden Histories of the British Atlantic World, by American historian Zara Anishanslin. This is an ‘object biograph


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