Tea cozy, (untitled),

ca. 1903

Lebeau’s batik process was based on traditional Javanese production. In the simplest terms, the wax dye resist was painted onto the fabric with a tjanting—a copper pouring vessel with a wooden handle. When placed in a blue dyebath (obtained from indigo), the painted design remained uncolored. After removing the wax, these steps were repeated for the brown dyebath (in the Netherlands, obtained from catechu, from a variety of acacia). A great deal of patience and experience was required to achieve successful results in this demanding process. Beginning at the design stage, Lebeau had to take all the peculiarities of the dyes, the fabric, and the dye-resist technique into account. The preparation of the wax presented a particular challenge: the process required the dyebaths to be as cold as possible in order to prevent the wax pattern from melting, yet the wax is prone to cracking when cooled, causing veins of color to appear in the fabric when removed from the dyebath. The nature of this fabric-dying process permitted Lebeau to create exclusive craftwork objects that invariably bore his signature—a welcome distinction for the reformist artist from mass-produced, machine-made products. Jules de Praetere, the newly appointed director of the Kunstgewerbeschule Zürich and its associated museum, was also conscious of the significance of these batik fabrics when he purchased Lebeau’s objects in 1905 and exhibited them shortly afterward. Thus he used their educational potential to inform the public about his ideals with respect to the creations of and education in the applied arts. (Rhiannon Ash)