folded beauty: masterpieces in linen by joan … · there are nine napkin folding styles which can...

FOLDED BEAUTY:MASTERPIECES IN LINEN BYJOAN SALLAS

22 May - 27 October 2013

This exhibition celebrates the art offolding napkins, a tradition whichoriginated in Europe 500 years ago.When applied to linen, it was used tomake table decorations of greatintricacy and beauty, both for displayand practical use. All of the creationsyou see here were made by JoanSallas, a Catalan artist who lives andworks in Germany, and are based ondocumented historical patterns.

Originally an origami paper artist,Sallas became fascinated with historicnapkin and linen folding. He hasmeticulously researched and masteredthis forgotten art and is now theworld’s leading virtuoso folder.

These decorations were often symbolic of the specificoccasion for which they were created, and served asconversation pieces. The displays were changed Inbetween courses. The folding was the responsibilityof the household official in charge of the buffet, or"credenza". Later, it transferred to the official incharge of carving.

All the models shown are made from wheat-starchedlinen from Saxony, Germany.

Waddesdon and the history of diningWaddesdon’s Dining Room was at the heart of theentertainment provided for Baron Ferdinand’sguests at his famous house parties, when the lavishappearance of the table complemented the exquisitemeals that were served. An evocative photographfrom 1897 shows the table dressed for dinner, ladenwith pink Malmaison carnations – a specialty ofWaddesdon’s glasshouses – which echoed the pastelcolours of Boucher’s tapestries on the walls.

Table decoration that created a visual counterpoint tothe food has a long tradition that evolved accordingto changing fashions. The use of figures made oftable linen, sugar paste or porcelain (like thosedisplayed in the Starhemberg Room on the firstfloor) persisted from the Renaissance until thebeginning of the 19th century, when they werereplaced by extravagant displays of flowers and fruit.

Since 1994 we have recreated the magnificentsplendour of the Dining Room using one of the 18th-century Sèvres and Meissen porcelain services in ourcollection with different historical table decorationseach year. The spectacular display of sculptural linennapkins by Joan Sallas is part of that tradition.

Selma Schwartz Associate Curator of Porcelain

A short history of foldingSimple linen napkins were widespread by the MiddleAges, but the idea of artistically arranging napkinsdeveloped in the Renaissance. Crisply starched andartfully folded linen napkins were first used at thecourts of northern Italy in the early 16th century. Thetradition was subsequently developed according tochanges in fashion in clothing, and has lived on tothe present day.

The art form reached its pinnacle in the 17th century,particularly in German-speaking countries whererichly illustrated books were written describing theseextravagant designs. Particularly impressive were thetable centrepieces in the form of symbolic animals orminiature buildings made from many metres offolded linen.

Much of our knowledge about Renaissance foldingtechniques comes from Mattia Giegher’s Li tretrattati, the first illustrated treatise on folding,published in 1629. First translated into German andenlarged by G. P. Harsdörffer in 1652, it was to behugely influential in central and northern Europe.Originally from Bavaria, Mattia Giegher (MatthiasJäger) taught the arts of carving and napery foldingat the University of Padua. The custom of showpiecenapery centrepieces on the dining table graduallydied out in the late 18th century. However somefolding techniques survived for table napkins andevolved further, producing new models in the 19thand 20th centuries.

There are nine napkin folding styles which can bedistinguished by their basic forms and techniques:blintz, fans, layered folds, obelisks, rolls, pockets,lilies, twins and bonnets.

During the Renaissance and Baroque periods, afestive table set for an important occasion would beadorned with centrepiece displays made of fruit, pastry,sugar and napkins or tablecloths folded into fantasticcastles, ships and real or mythological beasts.

John Michael Wright, Anaccount of his ExcellenceRoger Earl of Castlemaine'sembassy, from His SacredMajesty James the II...to HisHoliness Innocent XI, London,1688; Waddesdon, TheRothschild Collection (TheNational Trust); acc. no. 3794

View of the DiningRoom from BaronFerdinand deRothschild's RedBook, 1897;Waddesdon, TheRothschild Collection(The National Trust);acc. no. 54

Der Han auf der Hennen (Table centrepiece: the cock on the hen)This was a popular fertility symbol and is illustrated inmany 17th-century books.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: lengthwise pleating, closed-layeredpleating, scale pleating

Ein Welscher Han (Table centrepiece in the form ofa turkey)Turkeys arrived in Europe from America during the16th century. This centrepiece was perhaps used tocover a cooked bird inside. The folding of the feathersuses contrasting light and shadow to dramatic effect.

At Waddesdon, the Meissenporcelain turkey centrepiece from1733 on the opposite console tableechoes the folded linen turkey.From 1709, folded centrepiecesbegan to be replaced by porcelain,but the same subjects were used.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: lengthwise pleating and scale pleating

Zwey Tauben (Table centrepiece in the form of apair of turtledoves)It was believed that doves paired for life and that if onedied, then its mate would die of grief. They were thereforesymbolic of enduring love. It is perhaps for this reasonthat this model is often folded from a single napkin.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: herringbone pleating

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Organised in partnership with the HolburneMuseum, Bath

The exhibition is in the Breakfast Room andDining Room on the ground floor, and the WhiteDrawing Room and Blue Dining Room on the firstfloor. There is an introductory 10 minute film inthe Breakfast Room.

We know it is tempting, but please try not totouch the linen sculptures.

If you have been inspired by what you have seen, youcan have a go at napkin folding following filmedinstructions from Joan Sallas at a table in KitchenCorridor when you exit the house. Joan will also berunning some workshops - see www.waddesdon.orgfor details.

BREAKFAST ROOM

Castello (Table centrepiece in the form of a castle)Castles, symbols of power and dominion, werepopular table decorations. In 1593, Vincenzo Cerviodescribed in Il Trinciante a lavish dinner where suchcentrepieces had live white rabbits and colouredbirds imprisoned inside. The rabbits wore red coralnecklaces. When the guests entered the dining hall,accompanied by music and perfumed fireworks, thecastle gates were opened to allow the creatures toescape and the birds were released from the towers.The castles were then removed and the food wasbrought out.

Source: Giegher, M., Li tre trattati, Padua, 1629Folding technique: lengthwise pleats, troublewit

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d Spinapesce (Herringbone pleating/scale folding)

The Italian term for this technique is spinapesce (fishspine). In German it is Schuppenfalten or scale folds.In France it was called frissier and godronne (curlingand gadrooning).

This folding technique is based on the same one usedfor longitudinal and curved folds. Frisée folds compriserows of reverse folds alternating inwards andoutwards obliquely at around 45° to the existing line.

On console table below tapestry:

Halbe spitzige und runde Muscheln (Spitzmuschel‘Marine’ table centrepiece)

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: closed-layer pleating

Abondanzza (table centrepiece in the form of thegoddess of Plenty)In 1638 Antonio Frugoli described sugar sculpturesadorned with folded linen at banquets in Rome andMadrid. Expensive cane sugar was mixed with eggwhites and gum tragacanth and baked in moulds tocreate sculptures for the tables of the very wealthy.These sugar sculptures were not usually eaten at the meal but they may have been given to the poor afterwards.

Source: Frugoli, A., Pratica e Scalcaria, Roma: Cavalli,1638Folding technique: curved pleating, scale foldsThe sugar sculpture made by Rolf Stålberg and EvaZiggy-Berlund.

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DINING ROOM

Historical folding techniques (samples on consoletable right of entry)

Priority was given to learning the folding techniquesrather than learning the models. Once thesetechniques had been mastered, the folder was able tocreate their own models and patterns. Bread wasoften placed under the material to help shape andhold the models. Edges and points were sometimesstitched together or cut off.

a Lange Falten (Lengthwise pleating)

The first type of fold the servants and carvers of theRenaissance had to learn was the so-called bastonareor Langfalten. The folded cloth or napkin was foldedin zigzag fashion into finger-wide sections in therunning direction of the fabric weave. The sectionshad to be exactly calculated and sharply delineated.This type of folding formed the basis of other typessuch as Schluss-Falten, frisée folds and pleats.

b Runde Falten (Curved pleating)

From the 16th century onwards, German texts can befound containing recommendations for practisingcurved folds (Rundfalten). The first known writtendescription is in Georg Philipp Harsdörffer's,Vollstaendig vermehrtes Trincir-Buch, 1652. AndreasKlett also mentions curved folds in NeuesTrenchierund Plicatur-Buechlein, 1677.

c Schluß-Falten (Closed-layer pleating)

Mattia Giegher documents this folding technique for the first time in 1629, although it was first namedby Andreas Klett in 1677 (Schluss-Falten). Afterfolding tablecloths or napkins into several layers,they were divided up in various directions with anumber of longitudinal or circular folds. Afterunfurling, the patterns showed up in the form ofplaited and pleated creases and surface textures,flowers, crosses, spirals or intertwined rectanglesand rhombuses.

Sèvres Manufactory biscuitfigures, The flute players,after 1752; Waddesdon,The Rothschild Collection(Rothschild Family Trust);acc. no. 367.1997.1

(On floor by walkway) Schlange (Tablecentrepiece in the form of a snake)The snake is made from a napkin strip eleven metreslong. Napkins folded in the shape of snakes were firstmentioned in 16th-century Italy, when they wereused in recreations of mythological scenes such asHercules killing the Hydra. As late as 1719 napkinsnakes were illustrated in books, but, with theintroduction of porcelain, such folded centrepiecedisplays gradually disappeared.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: lengthwise pleating andherringbone pleating

ON DINING TABLE

Cappami centrepiece (covering napkin)The term ‘Cappami’ used by Mattia Giegher for thismodel of centrepiece may refer to its use as a coverfor food.

Source: Giegher, M., Li tre trattati, Padua, 1629Folding technique: long folds, closed-layered pleating

Grundform 1- 7 (Folded form 1 - 7)Like the other folded forms (2-7) in this display, thisis one of the earliest folded napkin models used tohold bread, flowers, eggs, cards, menus, toothpicks,secret messages or even love poems. In the layerfamily of napkin folds, layers are folded on top ofeach other and remain flat. Most varieties are simplylaid down on a plate, although some are propped upin a standing position.

Source: Harsdörffer, G.P., Vollständig vermehrtesTrincir-Buch, Nuremberg, 1652

Grundform 3 (Folded form 3)Rolling napkins to produce curved forms was awidespread method. Long folds were used to createdramatic fold curves. Stitches were sometimes usedto hold the heavy folds in place when starch was notstrong enough. From the late 17th century, thesecurved forms developed further. The simplifiedrolling/folding method allowed models of animalssuch as swans and peacocks to retain popularity intothe 19th century.


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Eine Schildkrötte (Table centrepiece in the form ofa turtle)Turtles symbolised longevity. They were also a raredelicacy. From the second half of the 16th centurycentrepieces became ever more splendid and complex.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: scale folding and layered-closedpleating

(On carpet roller) Granciporo, e granchio di mare(Table centrepiece in the form of a crab)This model is made from a single napkin andcombines layered-closed pleating with herringbonepleating. The napkin is folded in half and then intoherringbone pleating folds before being opened upto produce positive and negative folds on either sideof the crab’s body. Mechanical crabs also providedentertainment at the table.

Source: Giegher, M., Li tre trattati, Padua, 1629Folding technique: long folds, closed-layered pleating

On console table left of entry:

Obelisk (Table centrepiece in the form of an obelisk)During the 17th century these kinds of spires andpinnacles were known as periaktoi after the similarlyshaped rotating devices used on Baroque theatrestages. Linen obelisks were constructed over woodenframes and held in shape with pleats or scale folds.

Source: Harsdörffer, G.P., Vollständig vermehrtesTrincir-Buch, Nuremberg, 1652Folding technique: plissée

Underneath obelisk: Copertoj da coprir lepanetiere per signori grandi (Cover for thebreadbasket for important guests)

Source: Giegher, M., Li tre trattati, Padua, 1629

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Folded tableclothCurved concentric folds were frequently used torepresent water ripples. Similarly folded napkinswere used to cover bread baskets.

Source: von Mähren, A.G., Vollständige Hauß- undLand-Bibliothec, Regensburg, 1699Folding techniques: layered-closed pleating in curvedconcentric folds

Grundform 6 (Folded form 6)One of the earliest folded napkin models used to holdbread, flowers, eggs, cards, menus, toothpicks, secretmessages or even love poems. In the layer family ofnapkin folds, layers are folded on top of each otherand remain flat. Most varieties are simply laid downon a plate, although some are propped up in astanding position.


Eine Lilien mit ihren Blättern (Lily with petals)Napkin models which share the basic lily base belongto the lily folding family. This base goes back to thevivid description of the city of Florence as the city oflilies. It has been suggested that the art of foldingnapkins into creative shapes began at Medicibanquets in Florence.


Ein dopeltes Schif (Double ship)Members of the twin folding family exhibit a double fold structure. The napkin is first rolled into a flat cylinder. The two ends are then opened and pushed together.


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Unnamed modelNapkin models which share the basic lily base belongto the lily folding family. The lily base resulted in awide range of variants over the centuries. As well asthe basic shape, one of the main features of thisfamily is the delicate point at the end of the foldwhich is rolled into a wedge shape.

Source: Giegher, M., Li tre trattati, Padua, 1629

Eine Jesuiten Kappe oder Abbts Infel (Jesuit’s capor bishop’s lappets)The opposite edges of the napkin are folded togetherto produce a diagonal, longitudinal form. The ends ofthis form are then folded diagonally to create adecorative pocket in the centre. This could be used tokeep bread fresh or eggs warm. This simplified,quicker folding technique sparked the developmentof a range of different variations, which becamemore widespread during the 19th century.


Springbronnen (Centrepiece in the form of a table fountain)Elaborate table fountains were used from the lateMiddle Ages for impact, refreshment and forcleaning the mouth and hands during a meal. Theycould be filled with perfumed water, wine and evenlive aquatic animals.

The heads, feet and paws of the lion and the griffinwould have originally been made of wax or wood butare here made of clay. The lion’s mane is made ofraw silk. The creatures are heraldic beasts, guardingthe fountain, the symbol of life.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding techniques: lengthwise pleating andherringbone pleating over a wood and wire support

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derde wyze (Dutch napkin fold - third model)See above for information

On console table left of doors to Red Drawing Room:

Schwibbogen (Table centrepiece in the form of atriumphal arch)Triumphal arches, palaces, pyramids and obelisks,known as trionfi da tavola, were Italian architecturaltable decorations symbolic of power. They weresometimes adorned with gold lettering, armorials,flowers, pearls and coral.

Source: Harsdörffer, G.P., Vollständig vermehrtesTrincir-Buch, Nuremberg, 1652Folding technique: plissée in spiral

On console table right of doors to Red Drawing Room:

Ein Fisch mit Floß-Federn (Centrepiece in theform of a pike)Napkins were folded into pike, turbot and dolphins.They often served as covers for fish dishesunderneath. Pike were particularly popular as theywere seen as fearsome symbols of power andrespect. Until the early 20th century, fish was usuallyserved on top of a folded napkin laid on the dish.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: lengthwise pleating, closed-layered pleating, herringbone pleating

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Water lilyThis model is taken from a painting by Martin vanMeytens depicting the coronation of the Holy RomanEmperor at Frankfurt in 1764. However, the foldinginstructions for this very old model were notpublished until the 19th century. The base is the so-called blintz-base. Blintz is Ukrainian Yiddish for a square pancake with folded corners. The blintzfamily of napkin folds is characterised by the factthat all the corners are folded to the middle at least once.

Jesus's Heart with FlameThis model is from the Christian folding tradition,probably developed or used by the Jesuits to putindividual pieces of bread inside.

Croce di Malta (Centrepiece in the form of aMaltese cross)From the 16th century, important guests often hadtheir arms or symbols creased into a napkin that wasplaced under their plate. This tradition continued inGermany until the late 19th century with the so-called Respekt-Servietten: guests’ monograms werefolded in the centre of the napkin with very smallpinched creases. Such napkins are still used by theKing of Sweden for grand banquets.

Source: Giegher, M., Li tre trattati, Padua 1629Folding technique: closed-layered pleating

vyfte wyze (Dutch napkin fold - fifth model)In the layer family of napkin folds, layers are foldedon top of each other and remain flat. Most varietiesare simply laid down on a plate, although some arepropped up in a standing position. This model istaken from one of the oldest step-by-step guides tonapkin folding

Source: N. N. [Eene voornaame Mevrouwe],Aanhangzel, van de volmaakte hollandsche Keuken-Meid, Amsterdam, 1746

vierde wyze (Dutch napkin fold - fourth model)See above for information

tweede wyze (Dutch napkin fold - second model)See above for information

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On console table below tapestry:

Italianische Lilie (Table centrepiece in the form ofan Italian lily)Guests from Florence might be honoured with acentrepiece folded into the shape of a lily, the symbolof the city. Folded from a single napkin, this modeldemonstrates how advanced western foldingtechniques were in the 17th century.

Source: Klett, A., Neues Trenchier- und Plicatur-Büchlein, Nuremberg, 1677Folding technique: lengthwise pleating

Das Krauthaubt, oder den Köhlkopf (Tablecentrepiece in the form of a cauliflower)A wide range of vegetable models were produced usingclosed-layered pleating folds with curved pleating.

Source: Harsdörffer, G.P., Vollständig vermehrtesTrincir-Buch, Nuremberg, 1652Folding technique: curved pleating, closed-layeredpleating

Roma sedente (Table centrepiece in the form ofthe goddess of Rome)In 1638 Antonio Frugoli described sugar sculpturesadorned with folded linen at banquets in Rome andMadrid. Expensive cane sugar was mixed with eggwhites and gum tragacanth and baked in moulds tocreate sculptures for the tables of the very wealthy.These sugar sculptures were not eaten during the mealbut they may have been given to the poor afterwards.

Source: Frugoli, A., Pratica e Scalcaria, Roma: Cavalli,1638Folding technique: curved pleating The sugar sculpture made by Rolf Stålberg and EvaZiggy-Berlund.

Der Türckische Bund (Table centrepiece in theform of a cauliflower)A wide range of vegetable models were produced usingclosed-layered pleating folds with curved pleating.

Source: Harsdörffer, G.P., Vollständig vermehrtesTrincir-Buch, Nuremberg, 1652Folding technique: curved pleating, closed-layeredpleating

Fünff Berge (Five hills)Although models in the fan folding family are todayknown as fans, they were originally called shellsbecause they resemble scallops. Fans were oftenused for birds’ tails and the fins of fish incentrepieces. The fans are created in two stages: firstthe napkin layers are folded into a base form (in thiscase a blinzed waterbomb base); it is then foldedusing the fan-folding technique. Finally, the layersare curled or turned in or decorated with alternatingreverse folds. Once the entire fold structure has beenpressed, the fan is relaxed and placed on a plate or ina glass.


THE EXHIBITION CONTINUES UPSTAIRS INTHE WHITE DRAWING ROOM

WHITE DRAWING ROOM

(On mirror on right wall) Aquila (Tablecentrepiece in the form of a double-headedHabsburg eagle) Linen centrepieces were often created to honourimportant guests. Visitors from the Catholic Habsburgregions might be greeted by the double-headedeagle. In 1650 the Duke of Amalfi organised a peacebanquet in Nuremberg which featured a centrepiecefolded in the shape of the Habsburg eagle.

Source: Giegher, M., Li tre trattati, Padua, 1629Folding techniques: lengthwise pleating, layeredclosed pleating, herringbone pleating

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ON THE TABLE

This display imagines a banquet gathering ofsome of the rulers of Europe. Most royal orimperial households had a specific pattern whichwas only used for the monarch or emperor. Insome cases, the patterns are still in use today.

Dutch Bonnet (Elizabeth II of England)

Source: Jones, K., For the Royal TableLondon: Royal Collection, 2008

Napkin for Louis XIVElaborately-folded napkins were used to indicaterank and status at the European courts. During the1660s, Louis XIV used this intricate napkin ágaudrons et petites carreaux, folded using the so-called fish scale technique.

Kaiserfaltung (Napkin for the Austrian EmperorFranz Josef)This traditional fold from the Hapsburg Court inVienna belongs to the lily folding family. Known asthe Imperial fold, it was used until 1918. Today, onlythree officials at the Hofburg Palace in Vienna knowthe once closely guarded secret of how to make it.

Corona del papa (Table centrepiece in the form ofthe Papal Tiara)During the 16th century, Medici popes broughtFlorentine culture and the art of napkin folding toRome. During the 19th century, brides were oftengiven napkin crowns made using the same scalefolding technique.

Source: Giegher, M., Li tre trattati, Padua 1629Folding technique: scale folding

Kronan (Swedish Crown napkin)This is the napkin fold of the Swedish royal family. Itis only used for members of the royal family and forvisiting heads of state. Other guests are given adifferent fold. It takes three months to prepare thenapkin from wash room to table. It is firstcoldmangled and then dried for three weeks, thencoldmangled twice again. It is then folded into thefirst sequence and then placed in a press until theday before the dinner. The second folding sequenceis completed before it is placed on the table. Asecond napkin with its edges folded into small fans isplaced under the plate. When the guest sits down,they unfold the fans onto their lap. The use of asecond napkin under the plate was first used in 16th-century Italy to distinguish important guests.

Hovvnit (non-Royal guests at the Swedish Court)

Source: from the Swedish court traditionStockholm, 18th century

Bourbonska Wapnet Kejsar Napoleonsförmälnings-serwet (Napoleon III)

Source: Höökenberg, K. E. V., Kokbok och FargbökStockholm: Riis, 1857

Konglig Begrafnings-serwet (Oskar II of Sweden)This is a Funeral napkin for the King of Sweden,where one end is left unfolded to signal the end ofthe King’s life.

Source: Höökenberg, K. E. V.: Kokbok och FargbökStockholm: Riis, 1857

Napkin for truffles (Tsar of Russia, Nicolai I)

Source: Silver Napkin from Atelier Ignaty Sazikov,conserved in the Hermitage Museum, Moscow, 1849

Kaiser-Wilhelm-Stollen (German EmperorWilhelm I)

Source: Kühne, J.: Die Fach- und Fortbildungs-Schule im Gastwirthe-Gewerbe Berlin, 1894

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Franz Peter Bunsen, Oval tureen(part of the George III DinnerService); 1780-1790; Waddesdon,The Rothschild Collection(Rothschild Family Trusts). On loansince 2003; acc. no. 8.2003.8

RIGHT WALL, CENTRAL CONSOLE TABLE

SELECTION OF VICTORIAN AND EDWARDIANFOLDED NAPKINSPUBLISHED IN 1838, 1854, 1868, 1871, ca. 1880,1888, ca. 1890, 1896, ca. 1900, 1907, ca. 1915 and 1916

By the 19th and early 20th centuries, patternbooks were being produced to allow napkins tobe folded at home as well as in hotels and clubs.Sometimes folds were designed in honour of aparticular person or event.

The Improved Stanley FanSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The PeacockSource: Roberts, G. E., Table etiquette practical and social,London: Routledge, 1916

The PineappleSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The StanleySource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

FAR WALL, RIGHT CONSOLE TABLE

The Fleur-de-LisSource: Roberts, G. E., Table etiquette practical and social, London: Routledge, 1916

Petal and FanSource: Senn, Ch. H., The Art of the Table, London: Food & Cookery, ca. 1915

The Star Fan ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The “Frilled Cup”Source: Senn, Ch. H., The Art of the Table, London: Food & Cookery, ca. 1915

The “Mother Hubbard”Source: Senn, Ch. H., The Art of the Table, London: Food & Cookery, ca. 1915

Cinderella's SlipperSource: Beeton, I. M., Mrs. Beeton's Book ofHousehold Management,London: Ward, Lock, 1888

Napkin Folded for small Tarts at the side and aCake in the middleSource: Jewry, M., Warne's Model Cookery andHousekeeping bookLondon: Warne, 1868

The CinderellaSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

CHIMNEY-PIECE, LEFT TO RIGHT

The NapoleonSource: Roberts, G. E., Table etiquette practical and social, London: Routledge, 1916

The GordonSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

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The OrchidSource: Roberts, G. E., Table etiquette practical and social,London: Routledge, 1916

Figure Nr. 26Source: The Dining-Room and Its AppointmentsLondon, New York: Butterick, 1896

The CrownSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Double FanSource: Senn, Ch. H., The Art of the Table,London: Food & Cookery, ca. 1915

FAR WALL, LEFT CONSOLE TABLE

The “Frilled Fan”Source: Senn, Ch. H.: The Art of the Table, London: Food & Cookery, ca. 1915

The MarchionessSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Prince of Wales's FanSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Double Crimped FanSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Table Fan DesignSource: Weldon’s Guide to Folding Serviettes -Second Series,London: Weldon, ca. 1900

The Water LilySource: Jewry, M., Warne's Model Cookery andHousekeeping Book,London: Warne, 1868

Folding Model “A”Source: Beeton, I, M., Mrs. Beeton's Book ofHousehold Management,London: Ward, Lock, ca. 1880

The GladstoneSource: Kerr, W., The Art of Serviette Folding, Glasgow: McDonald, [1907]

BLUE DINING ROOM

Table centerpiece in the form of mountains

Mountains are an ancient symbol of the dominionover lands. The peaks of the napkin-mountains weremade of sugar, butter, or linen. Using individualnapkins, mountain ranges with up to five or six peakscould be created, depending on the rank of theguests. Occasionally, mountains would be made fromthe entire tablecloth. When the food was brought in,the mountains were simply pulled apart and flattenedout across the table.

Source: G. P. Harsdörffer, Vermehrtes Trincir-Buch,Nuremberg, 1652Folding technique: closed-layer pleating

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LONG CONSOLE TABLE, RIGHT OF ENTRY,BACK ROW, LEFT TO RIGHT

The Four Pointed FanSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Horse Shoe FanSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The “Leaf Fan”Source: Senn, Ch. H., The Art of the Table,London: Food & Cookery, ca. 1915

The Fan DesignSource: Weldon’s Guide to Folding Finger Napkins,London: Weldon, ca. 1900

The BatSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

LONG CONSOLE TABLE, RIGHT OF ENTRY,FRONT ROW, LEFT TO RIGHT

The Fan PyramidSource: Weldon’s Guide to Folding Serviettes -Second Series,London: Weldon, ca. 1900

The Coronal ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The CoronationSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

(Underneath The Coronation) The ImperialSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The AlexandraSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Victoria Regia ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The Letter W DesignSource: Weldon’s Guide to Folding Serviettes -Second Series,London: Weldon, ca. 1900

FAR WALL, CONSOLE TABLE, BACK ROW,LEFT TO RIGHT

The BaldwinSource: Kerr, W., The Art of Serviette Folding,Glasgow: McDonald, [1907]

The Marie Louise ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The Prince of Wales's Feather ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The FlirtSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

FAR WALL, CONSOLE TABLE, FRONT ROW,LEFT TO RIGHT

The Hamburg Arms ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The MitreSource: Jewry, M., Warne's Model Cookery andHousekeeping Book,London: Warne, 1868

The Wave ServietteSource: The Book of Dinner Serviettes,London: Horace Cox Publisher, 1871

The MitreSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

The Half-Pyramid ShapeSource: Workwoman's Guide, London: Simpkin, Marshall 1838

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ON DINING TABLE

The NeapolitanSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

The CollegianSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

Our OwnSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

The ExquisiteSource: Philp, R. K., Table Observances, London, Dublin: Orr; McGlashan, 1854

The ArrowSource: Roberts, G. E., Table etiquette practical and social, London: Routledge, 1916

Another ModeSource: Workwoman's Guide, London: Simpkin, Marshall 1838

The Diamond ShapeSource: Workwoman's Guide, London: Simpkin, Marshall 1838

Folding Model “E”Source: Beeton, I, M., Mrs. Beeton's Book ofHousehold Management,London: Ward, Lock, ca. 1880

Double Pocket DesignSource: Weldon's Guide to Folding Finger NapkinsLondon: Weldon, ca. 1900

SELECTION OF JOAN SALLAS FOLDINGCREATIONS WITH NAPKINS 2013

Blue Dining Room: on chimney-piece, consoletable left of chimney-piece, hanging in windows,on furniture and floor.

The following patterns have all been invented byJoan Sallas and created, in some cases for thefirst time, for this exhibition. They show that theart of the fold is as alive and as inventive now asit was 500 years ago.

Goullon boxWindmill box Dresden StarRabbit ears hatSydney hatSummer hatSwan familyAquariumfishSeahorseFröbelflowerCockPippa fanGoose

Top to bottom:Papal Tiara in White DrawingRoom, Triumphal Arch inDining Room, Castle inBreakfast RoomPhotography: Mike Fear

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folded beauty: masterpieces in linen by joan … · there are nine napkin folding styles which can...

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