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AUBUSSON Tapisserie représentant un paysage laissant apparaître un château XVIIIème siècle 227 x 187 cm (accidents)

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AUBUSSON Tapisserie représentant un paysage laissant apparaître un château XVIIIème siècle 227 x 187 cm (accidents)

Verbleibende Zeit
Schätzwert 300 - 400 EUR
Aktuelles Gebot 650 EUR

* Zzgl. Aufgeld.
Siehe Auktionsbedingungen, um die Höhe des Aufgeldes zu berechnen.

Aufgeld: 26 %
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Auktionsschluss ab dem
Monday 22 Jul - 14:00 (CEST)
fontainebleau, Frankreich
Osenat
+33164222762
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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.