Every now and then, a piece finds you…
This week, I discovered what appears to be a remarkable pair of hand-crafted raised chenille swan-on-velvet panels, beautifully preserved in their original gilt frames and signed simply:
R. Jones – 1908
I was told that the maker lived in Wells, Somerset, and that immediately captured my imagination.
If that is true, I can’t help but wonder if she spent hours sketching and studying the graceful swans at The Bishop’s Palace, translating their elegance into these wonderfully sculptural textile artworks.
Created in 1908, these pieces belong to the era of the Arts & Crafts Movement, a time when craftsmanship, beauty, nature, and local identity were celebrated above mass production. While I don’t yet know whether R. Jones was connected to the movement, her work certainly reflects many of its ideals: exceptional craftsmanship, a reverence for the natural world, and objects made not simply to decorate, but to endure.
As someone who has devoted more than 30 years to fashion and textile design, sourcing, and preserving traditional craft, discovering these pieces felt incredibly special. I feel a responsibility not only to preserve beautiful craftsmanship but also to honour the stories of the women, often overlooked, whose creativity shaped our textile heritage.
The Symbolism of the Swan
Swans have long carried rich symbolism across cultures, making them a particularly meaningful subject for an artist in 1908.
They represent:
- Grace and elegance – moving through life with quiet strength.
- Transformation – the journey from cygnet to swan reminds us of growth and becoming.
- Love and devotion – because mute swans often form long-term pair bonds, they have become enduring symbols of loyalty and partnership.
- Inner wisdom and intuition – beneath their serene surface lies immense strength, reminding us to trust what lies beneath the surface.
- Beauty with purpose – graceful above the water while working tirelessly beneath it, a powerful metaphor for craftsmanship and the unseen dedication behind every handmade piece.
Perhaps this is why these embroideries resonate so deeply with me.
After more than a century, they still invite us to slow down, observe, and appreciate the artistry of the maker’s hand.
So this isn’t just about finding a pair of embroideries.
It’s about rediscovering a maker.
Now the real journey begins.
Who was R. Jones?
Was she a local textile artist? Did she exhibit her work? Were these commissioned? Could they even have been created as a tribute to Wells’ famous swans?
I’m beginning the process of researching their provenance, hoping to uncover the woman behind the signature and ensure these remarkable works are appreciated by those who value Britain’s rich textile heritage.
Perhaps they belong in a private collection.
Perhaps they should return to Wells.
Or perhaps they’ll find a home in a museum, where their story can inspire future generations.
If you know anything about R. Jones of Wells, early 20th-century embroidery, or have connections with The Bishop’s Palace, Wells & Mendip Museum, Somerset Heritage Centre, or textile historians, I’d be delighted to hear from you.
Sometimes preserving history begins with a single thread.
And sometimes… a signature is just the beginning of the story.