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Kustaa SAKSI (1975) - FINLAND - Zenith Jacquard Weave - Mohair Wool, Merino, Biofur Cotton, Acryl, Eco-Cotton- 170 x 190 cm - 2016 - unique piece. Gallery certificate will be given to the buyer. Kustaa Saksi builds worlds of playful, paradoxical and troubling yet inviting shapes and environments pulled out of the ordinary. Combining organic qualities with uniquely detailed textures with rich colour palettes and experimental material use, Saksi is creating contemporary spaces, objects and atmospheres. His abstracted Hypnopompic tapestry series sits somewhere between the states of dreaming and awakening – surrealist and sensational. First Symptoms collection draws its inspiration and texture from the scientific examination and personal experience of migraine. His work is often surreal and out of place. Saksi is fascinated by illusory states and visual delusions – usually pattern-based, kaleidoscopic, identical structures sometimes flickering, forming and reforming all over the visual field – common in migraine auras for most sufferers. Often geometric structures cover the whole visual field: checkerboards, transparent oriental rugs, tribal patterns, ornamental spherical objets d’art like radiolaria or bacteria, repeating wallpaper designs, spiderweb-like figures or concentric circles and squares, architectural forms or decorative paper-cut snowflakes, mosaics, spirals and swirls.Saksi combines natural fibres such as mohair, alpaca, cotton and wool with rubber, metal, acrylic and phosphorescent yarns to create complex digital to analog textures. The jacquard weaving technique is named after the French inventor, Joseph Marie Jacquard (1752–1834), who designed the jacquard loom. With Jacquard’s automatic loom, it was possible to weave complex mechanically patterned silk fabrics. The technology was revolutionary in the textile manufacturing industry around the world. Collection Victoria & Albert Museum(UK) Cooper Hewitt Museum (NY) San Jose Museum of Art, TextielMuseum (CA) Design Museum Helsinki Museo Poldi Pezzoli (Milan) Kunsthall Stavanger and Helsinki EMMA Museum of Modern Art (FI) HAM Helsinki Art Museum (FI) Royal Academy of Arts (UK) Saastamoinen Foundation (FI) Jenny and Antti Wihuri Foundation (FI) University of Helsinki/Hyytiälä Forestry Station (FI) Rabobank Art Collection (NL) Buitenplaats Doornburgh (NL) Awards Red Dot Design Award: This internationally renowned design competition honors excellence in product design, communication design, and design concepts. Kustaa Saksi may have received this award for his outstanding contributions to graphic design or other design-related categories. A'Design Award & Competition: The A'Design Award is one of the world's largest and most prestigious design accolades, recognizing excellence in various design disciplines. Kustaa Saksi may have been honored with this award for his exceptional work in fields such as textile design, illustration, or visual communication. International Design Awards (IDA): The IDA celebrates and promotes exceptional design visionaries and emerging talent from around the world. Kustaa Saksi may have been recognized by this organization for his innovative and creative approach to design. European Design Awards: This annual competition showcases the best examples of graphic design, illustration, and digital design from across Europe. Kustaa Saksi's work may have been acknowledged with this award for its excellence in the field of visual communication. Society of Illustrators Awards: As an accomplished illustrator, Kustaa Saksi may have received recognition from the Society of Illustrators, an organization dedicated to promoting the art of illustration. Awards from this institution often highlight outstanding achievements in the field of illustration.

Starting price  12500 EUR

Mon 13 May

MANOLO VALDÉS (Valencia, 1942). "Las Meninas", 1984. Rug designed by the artist. Virgin wool. 100% pure. Exemplary 82/125. It has a label on the back and a handwritten signature. Measurements: 170 x 240 cm. Manolo Valdés has made during his career exclusive designs for the realization of carpets even collaborating with the Royal Tapestry Factory. In this particular case, the carpet, which belongs to a series of 125 examples, has the design of the Valencian artist, recreated in virgin wool. The piece has the personal and irreverent style of Valdés who reinterprets the myths approaching figures such as Picasso and Velázquez, which in this work are evident through the figure of the Menina. Although the composition and aesthetics are close to the work "Dances for fear" by Paul Klee. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan, the silver medal of the II International Biennial of Engravings of Tokyo, the award of the Bridgestone Art Museum in Lisbon, the National Prize of Plastic Arts, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andres Bello in Venezuela, the award of the National Council of Monaco, the Gold Medal of Merit in Fine Arts, the Award of the Spanish Association of Art Critics and the Best Printmaking Artist Award, among others. Formally, Valdés creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images of the history of art. He is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

Estim. 2 500 - 3 000 EUR

Tue 21 May

IMPORTANT SITARA HANGING FOR THE INNER DOOR OF THE KAABA (BAB AL-TAWBA) In the name of Ottoman Sultan Mehmet V and Khedive 'Abbas II Hilmi, Cairo, Egypt, dated 1331 H/1912-13 Rectangular in shape, pink and green silk satin appliqué on black silk velvet, embroidered with gold and silver threads, on a cotton core, five cartouches inscribed in elegant thuluth, the last smaller cartouche containing the name of Ottoman Sultan Mehmet V (r. 1900-1918), they cap the lower part decorated with a lobed medallion containing the dedication of Khedive 'Abbas II Hilmi, the background worked with arabesques and foliage, the borders adorned with circular medallions, lined with green silk, numerous areas of fraying, partially tarnished silver. Size: 284 x 160 cm Registration: Upper panel: the basmallah, followed by Sura 6 al-an'am, v.54, followed by " This noble sitara was commissioned by His Majesty our Master the Mighty Sultan Mehmet Khan the Fifth may God help him". Lower medallion: " This noble sitara was renewed in 1331 by His Majesty our Master the Mighty 'Abbas Hilmi Pasha, Khedive of Egypt, son of the late Muhammad Tawfiq Pasha, may God honour them". Provenance: Possibly from the Kérimé Osman Fuad collection (1898-1971), daughter of Khedive Abbas Hilmi and granddaughter of Sultan Murad V, Nice Private collection, Nice An Important Sitara for the Inner Door of the Ka'ba (Bab al-Tawba) In the Name of the Ottoman Sultan Mehmet V and Commissioned by Egypt's Khediv 'Abbas Hilmi, Cairo, Warshat al-Khurunfish Workshop, Dated 1331 H/1912-13 This luxurious hanging was intended to adorn the interior of the Kaaba in Mecca, and more specifically to cover Bab al-Tawba or Gate of Repentance. This door opens onto the staircase leading to the roof of the building. The production of luxurious textiles embroidered with metal threads to cover the Kaaba was the occasion of an important ceremony culminating in the changing of the draperies decorating it. The inscription on our sitara mentions this "renewal" ( jaddada hadhihi al-sitara). If the kiswa covering the outside of the Kaaba is changed annually, the textiles hanging inside are changed only occasionally - they are therefore much rarer. This practice of renewal is attested as far back as the Umayyad and Abbasid periods: these inscribed textiles, which proclaim the name of the caliph, also have great symbolic significance (Hülya Tezcan, Sacred Covers of Islam's Holy Shrines with samples from Topkapi Palace, Istanbul, 2017, p. 74). In the Ottoman period, the practice of sending these textiles with the sultan's titles and genealogy to Mecca seems to have become standardized. Textiles were then produced in Damascus or often in Cairo, where our sitara. This textile, bearing the name of the Ottoman Sultan Mehmet V and the Khedive of Egypt, his nominal vassal, was also part of the Ottoman tradition of diplomatic gifts of luxurious textiles to the Guardians of the Holy Places. A headband from the hizam of the Kaaba offered by Egyptian President Muhammad Naguib to King Ibn Saud of Saudi Arabia, Custodian of the Holy Places, was sold at Artcurial on May 24, 2023, no. 171. At the end of the XIX th and early XX th century, the hangings covering the Gate of Repentance seem to follow an identical pattern, with a few variations in color or floral motifs. At the Topkapi Museum, for example, a sitara sitara particularly close to ours, complete and dated 1325 H/1907, with identical inscriptions, and a fragment of a similar sitara (Tezcan 2017, cat. 52, p. 256-57 and cat. 51, p. 254-55). A second, undated and decorated simply with Koranic verses without bearing the names of the khedive and Ottoman sultan, is in the Khalili Collection in London. Two others are in the Metropolitan Museum, New York, dated 1897-98 (2009.59.1) and in the Textile Museum in Cairo, in the name of King Farouq, dated 1937. According to H. Tuzcan, the calligraphic patterns for these hangings, executed in a magnificent jali thuluth style, are said to be preserved at Topkapi (Tuzcan 2017, p.256). In addition to these four complete examples, only one other authentic authentic sitara from the Gate of Repentance seems to have appeared on the market in recent decades. This is a fragment of a hanging bearing the name of Mehmet V sold at Christie's in London on April 8, 2008, no. 157.

Estim. 70 000 - 100 000 EUR

Tue 21 May

RARE ELEPHANT PARADE CLOTH (JHUL) India, late 19th or early 20th century Beautiful embroidery entirely tapestried with gold and silver threads, embellished with sequins, the motifs in high relief, the first register decorated with a mirrored floral composition around a cypress tree and a band embroidered with tigers chasing antelopes, the upper register embroidered with a lattice of rosettes on a green silk ground, the borders decorated with a floral meander, the reverse lined with red cotton stamped with a weaver's mark in devanagari, tasselled border, frayed silk, good overall condition. Size: 192 x 237 cm (without border). Rare Ceremonial Elephant Embroidered Gilded Trappings (Jhul), India, 19th or early 20th century This impressive gold cloth was used to adorn an elephant during important processions. Scenes of princely parades featuring richly caparisoned elephants are common in Indian art, attested from the Indus civilization to the Mughals and the early 20th century. The luxurious textile, worn in pairs on the animal's flanks, reinforced the elephant's majesty and regal character. Highly prized textiles requiring exceptional embroidery work, these jhuls were often given as gifts on the occasion of princely ceremonies. For example, jhuls were given as gifts at the coronation of the Maharaja of Jodhpur Takht Singh in 1843 (Shakshi Gupta, " Elephant Regalia: A Living Tradition" in Overview, 18 June 2018 available online at sahapedia.org). For a discussion of this and other examples of jhuls, read Shakshi Gupta, " Metal Embroidery on Elephant Trappings (jhul)" in Textiles and Clothing Research Centre, vol. 1, n°2, August 2017, pp. 13-17. In particular, Gupta published a jhul similar to ours, embroidered in high relief with a design of lions facing each other, presented in the hall of the National Museum in New Delhi.

Estim. 2 000 - 3 000 EUR

Sun 26 May

Jean LURCAT (1892-1966) in AUBUSSON. "Le Pic. Wool tapestry signed lower left and monogrammed lower right in the weft by Tabard Frères & Soeurs. Signed, titled, justified tirage 1 on the bolduc and numbered 2436 on the back. Height 196 - Width 158 cm Jean Lurçat was born in the Vosges and began his career as a painter, but it was tapestry that brought him to the forefront, or perhaps more accurately, that restored tapestry to its former glory. In the 1930s, he set out to revitalize this neglected art form. In 1936, he had his first tapestry woven by the Manufacture des Gobelins, then moved to Aubusson in September 1939 with Marcel Gromaire and Pierre Dubreuil. There, his works were first woven by the Atelier Tabard, which also produced the tapestry shown here. Lurçat was not only an artist, he was also a true technician, developing a formidable new method for making tapestries: numbered cardboard, reduced palette, wide-stitch weaving. Each number on the cardboard corresponds to a color, facilitating the work of the weaver. Without too much difficulty, Lurçat rallied people to his cause, initiating a myriad of disciples including Jean Picart Le Doux, Marc Saint-Saëns and Dom Robert. Renewing the entire language of an art form, creating a school of artists around him, resisting during the war - none of this prevented the versatile cardboard painter from developing his lyrical style. Influenced by the Surrealists, Lurçat's universe is populated by luxuriant vegetation and a bestiary combining real and fantastical animals, like our porcupine amidst blue and green plants, playing with perspective against a black background. A decorative effect is guaranteed with this woollen panel created by the man who knew how to build a bridge between the tradition of the Middle Ages and the modernity of the 20th century.

Estim. 2 000 - 3 000 EUR

Sun 26 May

Jean LURÇAT (1892-1966) in AUBUSSON. "Grotte noire". Wool tapestry signed and monogrammed by the Goubely-Gatien workshop in the weft, lower left. Titled, signed and numbered on the bolduc. Carton no. 1918, Mle no. 2025, 1960 edition. Height 128 - W 246 cm Jean Lurçat was born in the Vosges and began his career as a painter, but it was tapestry that brought him to prominence, or perhaps more accurately, that restored tapestry to its former glory. In the 1930s, he set out to revitalize this neglected art form. In 1936, he had his first tapestry woven by the Manufacture des Gobelins, then moved to Aubusson in September 1939 with Marcel Gromaire and Pierre Dubreuil. There, he collaborated with a number of workshops, including that of Suzanne Goubely, from whom our work originates, who took over the business from her father, Emile Gatien. Goubely's modern taste contributed to Aubusson's success, and was a perfect match for Lurçat's ideas. Lurçat was not only an artist, he was also a true technician, developing a completely new and highly efficient method for making tapestries: numbered cardboard, reduced palette, wide-stitch weaving. Each number on the cardboard corresponds to a color, facilitating the work of the weaver. Without too much difficulty, Lurçat rallied people to his cause and initiated a myriad of disciples, including Jean Picart Le Doux, Marc Saint-Saëns and Dom Robert. At the entrance to this cave, the speleologist is delighted to encounter Jean Lurçat's astonishing bestiary. A salamander, a pair of turtles, butterflies, a bird and even some fish bring us into this lyrical world of warm yellow and brown tones. A decorative effect is guaranteed with this woollen panel created by the man who knew how to build a bridge between the tradition of the Middle Ages and the modernity of the 20th century.

Estim. 3 000 - 5 000 EUR
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