On 24th Feb 2012 2:58pm, heritage said:
We have a talk coming up in Bedworth by the works manager from Toye, Kenning and Spencer who still operate in Bedworth. They have just produced all the ribbons for the Queens Jubilee Medal.
On 24th Feb 2012 3:37pm, sally watson said:
Hi there, Leigh Mills wove the cloth for suits, they were woven on large looms using big wooden shuttles, depending on the pattern you sometimes used as many as 6 shuttles, these were giants compared to the tiny shuttles used at Cash's where I also worked as a weaver on the ribbons. I think Leigh Mills moved somewhere up north and some of the workers left Coventry and went with them.
On 24th Feb 2012 4:20pm, dutchman said:
I only know this from the labels on old maps but Leigh Mills apparently specialised in weaving Worsted cloth.
Forgive me if the following is not appropriate to the Historic Coventry site but - Heritage mentions the weaving industry in Coventry on 24th February and his/her interest in the subject.
One of the industrial influences which contributed to the survival and development of Coventry Godiva Harriers when so many other athletic clubs in the area folded, was the weaving industry, surprisingly; at a time when patronage was so important to Harrier Clubs' finances, first Stevens then Franklin played a part. Is Heritage able to tell me if old records of names of the workforce of specific weaving firms exist? If so, where? In particular, in the late 1920s, Botterill and Landells are important to my history of the changing design of the Lady Godiva Badge, the club emblem. I have letters referring to their offer to design a new badge for the club 'at their factory'; I don't know if 'their' means 'where they worked', or whether to their owned a weaving shed. By the late 1920s, the large woven vest badge was gradually being replaced by a blazer pocket sized badge, so it might be indicative that they worked at Cashs' if their offer had been taken up by the Godiva Club officials. Is it possible from the thread use as seen on the reverse of a badge, to determine which firm produced it? One other problem of understanding I have is, how were the cards on the Jacquard loom changed (or the weft set up?) to produce the same design, say a depiction of Lady Godiva, but of a totally different size? And lastly, how could part of a design, again say one of Lady Godiva, be extracted from a complex woven piece to just appear as Lady Godiva in isolation?