Les Musiciennes 2 (the musicians 2; detail)
Tapestry woven by the Fino workshop, Portalegre.
With label.
1953-1964.
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Composition orange
Aubusson tapestry woven in the Goubely workshop. Circa 1940. -
Le périscope (the periscope)
“First of all I like wool, its warmth...In tapestry, I can use both colour and graphic design” wrote the artist in “Sculpture”, Paris, 1968. Better known as a sculptor, Gilioli would design his first cartoon in 1949, before winning in 1957 the Tapestry Prize at the Biennial in Sao Paulo ; in all he designed around a hundred tapestries, woven by the Pinton and Picaud workshops. From the end of the 1960’s onwards Gilioli’s cartoons are exclusively geometrical, use two or three colours and evolve in parallel with the forms employed in other media. Our tapestry reproduces, on a smaller scale, the mosaic designed a few years earlier by the artist for the building “Le Périscope,” a project by Novarina in the 13th arrondissement of Paris. Bibliography : Exhibition catalogue Gilioli, Paris, Galerie la Demeure, 1971 Exhibition catalogue Des sculpteurs et la Tapisserie, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1995 Exhibition catalogue Gilioli Tapisseries, Paris, Fondation Dina Vierny, 1997Aubusson tapestry woven in the Pinton workshop. With signed label, n°1/6. 1971. -
Luc Estang
Aubusson tapestry woven in the Tabard workshop. With label. Circa 1947. -
Composition
Tapestry woven in the Fino workshop, Portalegre. With label of the Suzy Langlois gallery, n°1/6. Circa 1980. -
La crique (the cove)
As a young painter moving towards abstraction in the late 40s, Longobardi was commissioned to paint large-scale murals in France and abroad (the presidency of the Republic of Abidjan, the rectorate of the Poitiers Academy, etc.), as well as numerous tapestry cartoons, in particular for the Manufactures Nationales, with sometimes very modern subjects (‘l'autostrade’, ‘l'aéroport’, etc.). Longobardi, along with Singier and Springer, was one of the very first abstract artists to receive public commissions at the time. Although his work was abstract, his aesthetic evolved over time, from sharp forms to a more lyrical style full of movement, until the appeasement of the 1960s. The high point of his meteoric official career came when he was commissioned to create ‘la crique’ for the starboard private dining room of the liner ‘France’. After this, the artist became much rarer. Our tapestry bears witness to a marine inspiration that is not so frequent on the liner "France", and which, moreover, remained on the borderline between Abstraction (his usual mode of expression) and Figuration. It was sold under number 170 in the Loudmer sale of 10.7.1983, ‘Œuvres d'art du France’. Provenance : liner "France" Bibliography : Cat. Expo. Le Mobilier National et les Manufactures Nationales des Gobelins et de Beauvais sous la IVe République, Beauvais, Galerie de la Tapisserie, 1997 Armelle Bouchet-Mazas, le paquebot France, éditions Norma, 2006, ill.p.170 Cat. Expo. Le chic ! Arts décoratifs et mobilier de 1930 à 1960, Paris, galerie des Gobelins, 2022-23Aubusson tapestry woven in the Pinton workshop. 1959. -
Le conscrit des 100 villages (the conscript of the 100 villages)
Aubusson tapestry woven in the Tabard workshop. 1947. -
Le lion (the lion)
Aubusson tapestry woven by the Picaud workshop. With label signed by the artist's widow, n°2/6. Circa 1980. Jean Picart le Doux is one of the foremost figures in the renaissance of the art of tapestry. His earliest contributions to the field date back to 1943 when he designed cartoons for the passenger ship “la Marseillaise”. A close associate of Lurçat, whose theories he would adopt (limited palette, numbered cartoons…), he was a founding member of the A.P.C.T. (Association des Peintres-cartonniers de Tapisserie), and soon after, a teacher at the Ecole Nationale Supérieure des Arts Décoratifs. The state gave him several commissions most of them at the Aubusson workshop, and some at the Gobelins : the most spectacular of these being for the University of Caen, the Theatre in Le Mans, the passenger ship France or the Prefecture of the Creuse département … In as much as Picart le Doux’s aesthetic is close to that of Lurçat, so also is his inspiration and his subject matter, although in a register which is more decorative than symbolic, where he brings together heavenly bodies (the sun, the moon, the stars…), the elements, nature (wheat, vines, fish, birds…), man, literary quotation … “The Lion” reproduces, in small format, one of the figures, like heraldry, from the 1961 “Cortège d’Orphée” [Orpheus’ Procession]. Bibliography : Marthe Belle-Joufray, Jean Picart le Doux, Publications filmées d’art et d’histoire, 1966 Maurice Bruzeau, Jean Picart le Doux, Murs de soleil, Editions Cercle d’art, 1972 Exhibition Catalogue, Jean Picart le Doux, tapisseries, Musée de Saint-Denis, 1976 Exhibition Catalogue Jean Picart le Doux, Boulogne sur Mer, Bibliothèque municipale, 1978 Exhibition Catalogue Jean Picart le Doux, Paris,Musée de la Poste, 1980 Exhibition Catalogue Jean Picart le Doux, Abbaye Saint Jean d’Orbestier, 1992 -
Linda
Toffoli produced a large number of tapestries in collaboration with the Robert Four workshop from 1976 onwards, designing several hundred cartoons. In them we find post-cubist transparent effects which are characteristic of the artist, as indeed are the subjects treated. Thus Toffoli’s tapestries do not differ from his painting : the theme of motherhood, whether exotic or not, remains a recurring motif in Toffoli's work, regardless of the technique used. This tapestry is reproduced in the publication « Tapisserie d’Aubusson » produced by the Guéret Chamber of Commerce and Industry at the beginning of the 1980’s to illustrate the technical prowess of the Aubusson tapestry workshops.Aubusson tapestry woven by the Four workshop. With label, n°EA2. Circa 1980. -
Henri, détail de "carton 28" (detail from carton 28)
In the 1980s, Aubusson tapestry was in decline. The public authorities then drew up a plan to revive tapestry, and Daniel Riberzani was one of the beneficiaries, becoming the first recipient of a grant from the Centre National des Arts Plastiques for tapestry. In Aubusson, at the ENAD, he discovered the medium, initially adopting numbered cartoons and forging links in the workshops. He then received public commissions for the Gobelins and the Espace Carpeaux in Courbevoie (‘Music and Dance’, a 160 m² tapestry!), among others. Thematic series, in line with his pictorial work, followed one after another: ‘landscapes-events’, ‘intimate paintings’, “writings”, ‘painted cartoons’, etc. The latter, collaged and painted papers from 1993-1994, were designed for possible translation into textiles (tapestries or carpets, depending on the case). ‘Cardboard 28’, from 1993, consists of colourful pinned words, like a border on a neutral grey background in the centre, and although there was no ‘Carpet or Tapestry 28’, the artist had details woven, where « Henri » rubs shoulders with fragmentary “eruption” and ‘sulphur’: a tapestry of margins. Bibliographie : Cat. Expo. Histoire d’une tapisserie ou la rencontre du cannibale et des carnassiers, Aubusson, Musée départemental de la Tapisserie, 1984 Cat. Expo. Tapisseries – Cartons peints, Riberzani avec Bezard, Brandon, Four, Gachon, Scioria, Avallon, Collégiale Saint-Lazare, 1995 Gérard Denizeau, Riberzani peintures intimes 1989-1999, Inard Editions, 1999, ill. n°3, p.159 Daniel Riberzani Œuvres, 2014Aubusson tapestry woven in the Legoueix workshop. With signed label, n°1/6. 1993-1996.
