The beauty and complexity of carpet design has been evident possibly since the invention of weaving, prevailing for the last two millennia or more. Although much of the notable design work in this field originated in Asia, Europe boasts a history of distinctive design work linked to traditional regional craft styles as well as more recent studio-based creations, initially handmade and later machine-produced.

In the 19th century, British carpet production, in particular, became increasingly integrated into mass manufacturing. With rising production, there was a growing need for a variety of unique pattern designs for carpets. These were sourced from diverse origins, including traditional Islamic carpeting, French designs from the 18th and 19th centuries, and contemporary design work by British designers, some of whom were part of in-house design teams affiliated with carpet manufacturers.

A portion of decorative pattern work used in carpeting was derived from near copies of existing designs or detailed drawings of styles—both current and historical—that could be reused without significant concerns about copyright. Establishing copyright laws took much of the 19th century to systematize and even longer to prosecute, particularly on an international scale.

However, original decorative work was achievable, and although it might have drawn inspiration from various sources, it was deemed unique enough to be considered original. The two illustrations accompanying this article showcase original design work for carpeting created by the Durham manufacturing company of Henderson and Co in 1851. These designs were presented as exemplary instances of the company's work for the Great Exhibition of 1851 in Hyde Park, London.

The two designs are intricate and diverse, seemingly incorporating elements from Indian decoration. This development is noteworthy, considering India's increasing significance to Britain both politically and artistically during the 19th century. Specifically, these two designs show a distinct preference for Indian marquetry and inlay rather than textiles. Indian inlay work was highly admired in Britain for its complexity, skill, and beauty.

The first example, in particular, demonstrates a sophistication and comprehension of decorative pattern work. The arced decorative motifs intertwine and overlap, featuring scales and small splays of arabesques in light and dark colors against prominent decorative bands resembling thick borders. This particular design appears vibrant, dynamic, and undoubtedly a visual spectacle.

The second example, whilst perhaps being more sedate in style, is nonetheless just as accomplished. The inlay styling whilst appearing a little more conventionally European in style, can still be associated with an Indian outlook. The differing styles of arabesque seem much closer in scale than the first example, although the differences are still there. Although both examples give only a sample of the full carpet design, it can be seen how the complexity of the decorative style was intended to be an all-over pattern. Interestingly, Henderson and Co were particularly known for their stair carpets and therefore these two pieces might well have been intended as either for that reason or all-over carpet flooring rather than the traditional four cornered carpet design, although there is no specific note of this.


It is unfortunate that neither example is in colour nor description of colours is given. However, it should be assumed, considering that both examples are from the middle of the nineteenth century, that they would have been particularly bright, even perhaps florid by our tastes, although richly decorated and admired by Victorian standards. Although they may well not be to our tastes, they have to be admired for the depth of decorative work entailed in their design.


This is probably the high point of this particular style of British carpet and is the end of a sequence of design work that had been produced with ever more confidence and sophistication since the early nineteenth century. Although this large-scale, colourful and demonstrative pattern work for carpeting was to persist at least through the 1850s, by the 1860s styles had calmed and become more conventionalised with borders, medallions and florals becoming more readily part of the standardised compositions expected from tradition.


Although the first twenty years of the Victorian era in Britain, the 1840s and 1850s, are often looked upon as a particularly difficult time for the decorative arts, even as much as an intermediate era where design and decoration had little to offer and much to regret, it is perhaps worthwhile looking with a new perspective upon an era that at times at least gave the appearance of being little troubled by design reform and its obsession with correct colour combinations and pattern procedures. A period perhaps where colour, pattern and decoration were celebrated with large amounts of enthusiasm, frivolity and a coquettish amusement with the new and the novel. Although frowned upon by various parts of the Design Reform movement of the nineteenth century and certainly by the later Modernist movement of the twentieth century, there is an innocence to the exuberant decoration found in these carpet designs and the period in general in which they belong, an innocence that perhaps is sometimes overlooked.


Originally Published in The Textile Blog by John Hopper.