1836-1840.]. Oblong folio, (208 x 337mm); ff. [2] title and explanatory text, 60 numbered leaves of weaving patterns of which 49 depict hand-coloured full weaving patterns with ‘pull and treadle’ diagrams executed in pencil, ink and watercolour in a variety of colours, with 11 showing the ‘pull and treadle’ diagrams only (plates 47-49, 51-2, 54-56, 58-60), [6] leaves of diagrams showing the ‘lacing of stoneware patterns’, [12] blank leaves; in all 66 plates; lightly browned and foxed throughout, pin-marks visible throughout presumed from tracing of the original plates, some occasional light creasing at gutter and with some marginal dust-soiling; bound in attractive blue decorative paste-paper boards, with white paper label on upper cover (left blank), head and tail of spine lightly bumped, with some light rubbing and wear to joints and extremities; a most attractive copy. A beautifully produced manuscript copy of a later edition of Johann Michael Kirschbaum’s noted decorative pattern book for damask linen weaving, ‘New Picture and Pattern Book for the Promotion of the fine art of Linen and tapestry Weaving’ first published in Heilbronn and Rotheburg in 1771. Kirschbaum (1725-1782) was a master weaver from Heilbronn and his innovative pattern book, the result of an accumulation of designs over a number of years, was intended as a guide for both masters and journeymen, as well as other amateur lovers of the art. The work is notable for the striking representations of the patterns illustrating the grid and binary system of two colours to describe the relation of the warp to the weft, together with diagrams of the set up on the loom, effectively ‘codifying’ the patterns. The strong contrasts give them a visual impact that to the modern eye makes them exercises in optical art: Bridget Riley meets Piet Mondrian.
As the opening line reveals, the present transcription was based upon the fifth edition of the work, which was issued as part of a series of technical works under the subriquet ‘Das gewerbsame Deutschland’ and published in 1836 by Claß in Heilbronn. The present copy was clearly made, and has been adapted for, the personal use of a weaver, who was either unable, or unwilling, to purchase an original copy. The title-page has been partially transcribed, with the description of the plates included, but Kirschbaum’s original preface has not been included. As produced for personal usage, the compiler has also decided to include only 66 of the 74 plates found in the printed volume, clearly intentional as his title-page has excluded the line referring to the total number of plates. This in no way detracts from the work however, which in many ways is of more appeal, 49 of the plates having been vibrantly hand-coloured either in red, orange, blue, purple, green, grey, brown and black. Clearly traced from the originals, with tracing pin-marks visible, the illustrations of the fabric patterns have been executed with great precision. In another sign of personal usage, 11 plates omit the pattern themselves, only including the ‘pull and treadle’ diagrams that run along the bottom of each design - presumably sufficient for an expert to understand the basic pattern layout. The final 6 plates correspond to plates 61-63 in the published work (though the compiler has failed to transcribe the final line ‘24’ on plate 61. These plates are more schematic and give instructions for lacing for stoned weaving. Those plates completely omitted are the most geometrically complex images including multiple figures of enlarged detailed patterns shown schematically on square grids. A laborious step too far for our compiler, perhaps, or merely surplus to requirements.
The published work itself is rare in any edition, with OCLC locating only two copies in Germany of the 1836 edition. As the present manuscript copy reveals, however, Kirschbaum’s work was clearly being used and considered of relevance over sixty years after the first edition was published. His graphic codification method, which presented the information in a manner readily understandable for weavers, no doubt paved the way for Joseph Marie Jacquard's punched card operated looms, which in turn inspired the punch cards which underpinned early computer programming. A beautifully produced, working copy, attesting to the skill of the craft, and providing a valuable record of the patterns in use.