Null BEAUVAIS FABRICS, late 17th century

Greenery with crowned cranes

Woven in…
Description

BEAUVAIS FABRICS, late 17th century Greenery with crowned cranes Woven in wool and silk, with two cranes in the foreground on the left, one moving towards the abundant vegetation on the right; the border with trophy motifs, the upper one decorated with the motto Nec metu Nec Invide, cut-out leathers, animals, garlands of fruit and flowers; wear and old restorations, reduced in height and probably in width. Dimensions: 334 x 372 cm (131 ½ x 146 ½ in.) A Beauvais verdure tapestry, late 17th century Imposing plants and red flowers energize the composition, which is punctuated by a succession of vertical planes formed by the tree trunks. These vertical planes are contrasted by the horizontal planes of the waterfall, the wall and the bridge leading to the château.

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BEAUVAIS FABRICS, late 17th century Greenery with crowned cranes Woven in wool and silk, with two cranes in the foreground on the left, one moving towards the abundant vegetation on the right; the border with trophy motifs, the upper one decorated with the motto Nec metu Nec Invide, cut-out leathers, animals, garlands of fruit and flowers; wear and old restorations, reduced in height and probably in width. Dimensions: 334 x 372 cm (131 ½ x 146 ½ in.) A Beauvais verdure tapestry, late 17th century Imposing plants and red flowers energize the composition, which is punctuated by a succession of vertical planes formed by the tree trunks. These vertical planes are contrasted by the horizontal planes of the waterfall, the wall and the bridge leading to the château.

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French Aubusson tapestry, 19th century. "Landscape with castle". Hand-knotted wool. Measurements: 215 x 296 cm. The refinement of this hand-woven tapestry testifies to the high quality of Aubusson tapestries. A luxuriant garden opens before us showing a small lake with bridges on its banks and a castle in the background. Cherry blossoms and rose bushes border the pond. The landscape has been resolved with ease and descriptive precision, in richly contrasting tones with a predominance of green, blue and earthy tones, with pink details. The subject is in keeping with nineteenth-century aristocratic taste. The city of Aubusson agglutinated numerous tapestry workshops, which were created by Flemish weavers who settled in the area at the end of the 16th century. They had a rudimentary operation, compared to the Royal Gobelins Manufacture: they had no painters, dyers, nor a commercial structure, so their tapestries were sold in inns, to a lower class private clientele, mainly provincial aristocrats. In the sixteenth and seventeenth centuries, the Aubusson workshops specialized in vegetable tapestries (with eminently floral decoration), but the situation changed radically when, in the mid-seventeenth century, this center was reorganized by Jean-Baptiste Colbert, minister of Louis XIV, with the aim of converting these workshops into royal manufactories. He then subjected the Aubusson and Felletin workshops to a guild regulation and, in exchange, promised to provide them with a painter and a dyer. This promise, however, would not become effective until the 18th century, a turning point for the workshops of La Marche, which would see a considerable increase in the quality of their tapestries by being able to count on a painter dedicated to making cartons and a dyer who would produce dyes of a higher quality than those used until then.