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    Gaston THIERY

    Kalinka

     
    Aubusson tapestry woven in the Andraud workshop. With label, n°4/6. 1980.
           
    Established in the Creuse region of France, he started working on tapestries in 1965 with the Andraud workshop for whom he designed cartoons inspired by the local flora, in a decorative style which can be situated somewhere between that of Dom Robert and Maingonnat, a world away from his landscape paintings which were strongly influenced by the impressionists.   The title of this piece, which will be evocative to lovers of folk-song, is the name (but in Russian !) of the subject illustrated : kalinka meaning guelder-rose.
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    Richard LUCAS

    Le rouge et le noir (the red and the black)

       
    Aubusson tapestry woven in the Braquenié workshop. With label. Circa 1960.
            Lucas was a protagonist of tapestry renewal in Belgium following on from the “Forces murales” collective. He gave a certain number of cartoons to the Braquenié workshop in Malines in the years 1956 – 1957, designed in a style somewhat reminiscent of Picart le Doux.  
     
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    Jean Lurçat

    Poissons et grives (fish and thrushes)

       
    Aubusson tapestry woven in the Ponthieu workshop. With signed label. Circa 1960.
             
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    Jean-Michel LARTIGAUD

    Composition

       
    Aubusson tapestry woven in the Four workshop. N°6/6. Circa 1980.
       
     
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    Jean-René SAUTOUR-GAILLARD

    Plain-chant

     
    Aubusson tapestry woven in the Legoueix workshop. With signed label, n°1/4. 1974.
        Sautour-Gaillard had his first cartoon woven in 1971 by the Legoueix workshop (a collaboration which was to last), and from then on he designed many very large-scale projects of which the most spectacular was “Pour un certain idéal” a series of 17 tapestries dealing with the theme of Olympianism (property of the Musée de l’Olympisme in Lausanne). If at first close to lyrical abstraction, the artist produced in the 1990’s cartoons superimposing different decorative motifs, textures and figures whose unity originated in the woven texture itself.   The graphic characters which figure here suggest  calligraphy  and are characteristic of this artist’s tapestries from 1973 – 74, using these same colours. Here is how, in reference to Music, he defined his work at the time : “From my earliest efforts, I chose to make work which would not be a synthesis of images but rather construed as the orchestration of an architecture of colours ... The sensation of an imperceptible rustling as when the careful listening to a concert becomes tapestry.”     Bibliography : D. Cavelier, Jean-René Sautour-Gaillard, la déchirure, Lelivredart, 2013, ill. p.172-173    
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    Jacques BRACHET

    Les épées d'or (the golden swords)

     
    Aubusson tapestry woven in the Braquenié workshop. With label. Circa 1960.
       
       
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    René JULIEN

    Lente approche (slow approach)

     
    Aubusson tapestry woven in the Braquenié workshop. With label. Circa 1960.
       
       
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    Jean PICART LE DOUX

    Soleil d'août (august sun)

        Aubusson tapestry woven by the Braquenié workshop. With signed label. 1958.            
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    Henri Aram Hairabédian

    Composition

     
    Aubusson tapestry woven in the Henry workshop. With signed label, n°1/1. 1984.
       
       
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    Mary DAMBIERMONT

    La sylve (the forest)

     
     
    Tapestry woven by the Braquenié workshop. With label. 1968.
        Representing the prolific Belgian school of modern tapestry, Mary Dambiermont, is one of its most sensitive protagonists whose work is resolutely figurative. She made her tapestry début at the age of 24 in 1956 and that led her to a close collaboration with the Braquenié establishment in 1958 and from there to two participations in the Biennales de tapisserie in Lausanne in 1962 and 1965. The world she inhabits is a singular place peopled with hieratic figures, often feminine who inhabit dream-like landscapes which are strange and occasionally troubling. Sometimes however, nature is sufficient unto itself, although not often on the scale of this work (12 m2 !), abandoning any attempt at storytelling, as if an echo of bygone times in the history of Tapestry making : “With its twentieth century foliage, it reveals the ancient architecture of an immutable forest.” (Paul Caso, Mary Dambiermont, p.56)       Bibliography : Paul Caso, Mary Dambiermont, Editions Arts et voyages, 1975, ill p.54-55

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