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    Henri ILHE

    Laissez les vivre (let them live)

       
    Aubusson tapestry woven in the Tabard workshop. With signed label, n°6/8. Circa 1970.
       
    Henri Ilhe, who came to the design of tapestry cartoons late on in his career, still managed to produce from 1964 onwards a considerable number (more than 120, all woven by the Tabard workshop) in an urbane style, incorporating birds and butterflies sporting in and around the gnarled branches of trees and bushes.   “Laissez les livre” is thus, characteristic of Ilhe’s bucolic inspiration.
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    Jean PICART LE DOUX

     Le coquillage étoilé  (the starry seashell)

        Aubusson tapestry woven by the Berthaut workshop. With label signed by the artist. 1959.    
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    Louis TOFFOLI

    Les vieilles marches (the ancient steps)

       
    Aubusson tapestry woven by the Four workshop. With label, n°EA2/2. Circa 1980.
             
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    Jean Lurçat

    Eve

     
    Tapestry woven in the Fino workshop, Portalegre. With  label signed by the artist's widow. 1962.
            Lurçat’s artistic production was immense : it is however his role as the renovator of the art of tapestry design which ensures his lasting renown. As early as 1917, he started producing works on canvas, then in the 20’s and 30’s, he worked with Marie Cuttoli. His first collaboration with the Gobelins workshop dates back to 1937, at the same time he discovered the tapestry of the Apocalypse which was essential  in his decision to devote himself to tapestry design. He first tackled the technical aspects with François Tabard, then on his installation at Aubusson during the war, he established his technique : broad point, a simplified palette, outlined cartoons with colours indicated by pre-ordained numbers. A huge production then follows (over 1000 cartoons) amplified by his desire to include his painter friends, the creation of the A.P.C.T. (Association des Peintres-Cartonniers de Tapiisserie) and the collaboration with the art gallery La Demeure and Denise Majorel, and then by his role as a tireless advocate for the medium around the world.   His tapestries reveal a pictorial world which is specifically decorative, with a very personal symbolic iconography : cosmogony (the sun, the planets, the zodiac, the four elements…) stylised vegetation, fauna (rams, cocks, butterflies, chimera …) standing out against a background without perspective (voluntarily different from painting) and, in his more ambitious work, designed as an invitation to share in a poetic (he sometimes weaves quotations into his tapestries) and philosophical (the grand themes are broached from the wartime period onwards) vision whose climax is the “Chant du Monde” (Song of the World) (Jean Lurçat Museum , ancien hôpital Saint Jean, Angers) which remained unfinished at his death.   The total or partial re-use of cartoons is a characteristic of Lurçat’s working method : thus Eve is a replica in reverse of « La Poésie » (poetry), the antepenultimate panel of the « Chant du monde » series. Here the human face (? figure?) which had long been absent in the artist’s work, reappears. Was it his intention to create a biblical figure, an incarnation of woman, a poetic evocation, a sign of the zodiac (Virgo?)? The given title is Eve, probably out of respect for the artists widow’s wishes.     Bibliography : Tapisseries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957 Exhibition Catalogue Lurçat, 10 ans après, Musée d'Art moderne de la ville de Paris, 1976 Exhibition catalogue Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986 Symposium Jean Lurçat et la renaissance de la tapisserie in Aubusson, Aubusson, Musée départemental de la tapisserie 1992 Exhibition Catalogue Dialogues avec Lurçat, Musées de Basse-Normandie, 1992 Exhibition catalogue Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004 Jean Lurçat, le chant du monde Angers 2007 Gérard Denizeau, Jean Lurçat, Liénart, 2013 Exhibition Catalogue Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016  
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    Lucien COUTAUD

    Musique de chambre (chamber music)

     
       
    Aubusson tapestry woven by the Pinton workshop for the Compagnie des Arts Français. 1940.
        A painter and engraver, Lucien Coutaud also worked in the theatre with Dullin, Barrault and designed numerous sets and costumes. However it was his encounter with Marie Cuttoli  in 1933 which would introduce him to tapestry : she mainly commissioned seat cover designs. Most of the tapestries that followed were woven in the Pinton workshop for the Compagnie des Arts Français, whose main aim was to integrate tapestry as an element of interior decoration. The last 3 tapestries designed by the artist in 1960 are a tribute to his notoriety because “Jardins exotiques” was chosen to decorate the 1st class saloon on the “France” transatlantic liner.Elements of his work as a set designer, influenced by surrealism, are discernible in Coutaud’s woven art : the world he illustrates is figurative yet stylised (shapes are angular and harsh) contained in a dream world often incorporating unusual borders.     ‘Musique de chambre» seems a world away from the war’s grim times : the menacing sharp-edged designs of the later tapestries are not yet present  but the artist's leitmotivs of onirism, beauty of the faces, and vegetal decoration on the borderes are already asserting themselves. A copy of the tapestry was included in the 1946 exhibition.     Bibliography : L’amour de l’art, la tapisserie Française, 1946, ill. p.181 Collectif, Muraille et laine, éditions pierre Tisné, 1946, plate 55 Jean Lurçat, Tapisserie française, Bordas, 1947, plate 34 Exhibition catalogue Lucien Coutaud, œuvre tissé, Aubusson, Musée Départemental de la Tapisserie, 1988-1989, illustrated p 17
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    Xavier LONGOBARDI

    La crique (the cove)

       
    Aubusson tapestry woven in the Pinton workshop. 1959.
        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, 2022-23
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    Odette CALY

    Les beaux jours (fine weather)

       
    Aubusson tapestry woven in the Henry workshop. With signed label, n°2/6. Circa 1980.
            Odette Caly, who specialised in the depiction of bouquets, designed numerous cartoons for Aubusson, woven in the Pinton, Henry or Hamot workshops. Her inspiration, typically using meadow flowers, is here emphasised by the use of a border which refers back to the historical tapestry tradition.     Bibliography : Caly, Publications filmées d’art et d’histoire, 1972
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    Jean Lurçat

    Le sultan (the sultan)

     
     
    Aubusson tapestry woven in the Tabard workshop. With  signed label. Circa 1945.
        Lurçat’s artistic production was immense : it is however his role as the renovator of the art of tapestry design which ensures his lasting renown. As early as 1917, he started producing works on canvas, then in the 20’s and 30’s, he worked with Marie Cuttoli. His first collaboration with the Gobelins workshop dates back to 1937, at the same time he discovered the tapestry of the Apocalypse which was essential  in his decision to devote himself to tapestry design. He first tackled the technical aspects with François Tabard, then on his installation at Aubusson during the war, he established his technique : broad point, a simplified palette, outlined cartoons with colours indicated by pre-ordained numbers. A huge production then follows (over 1000 cartoons) amplified by his desire to include his painter friends, the creation of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie) and the collaboration with the art gallery La Demeure and Denise Majorel, and then by his role as a tireless advocate for the medium around the world. His tapestries reveal a pictorial world which is specifically decorative, with a very personal symbolic iconography : cosmogony (the sun, the planets, the zodiac, the four elements…) stylised vegetation, fauna (rams, cocks, butterflies, chimera …) standing out against a background without perspective (voluntarily different from painting) and, in his more ambitious work, designed as an invitation to share in a poetic (he sometimes weaves quotations into his tapestries) and philosophical (the grand themes are broached from the wartime period onwards) vision whose climax is the “Chant du Monde” (Song of the World) (Jean Lurçat Museum , ancien hôpital Saint Jean, Angers) which remained unfinished at his death.     ‘Le Sultan’ is an inverted version of “Fanfares”, with changes to the detail of the rooster's plumage. Although the rooster is a leitmotif for Lurçat, it can take on different meanings: here, in glory, on a large scale (3.5 m²), it bears witness to the Victory of 1945 (note the tricolour allusions), it is a festive rooster, deployed in a profusion of coloured areas.     Bibliography : Tapisseries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957 Exhibition Catalogue Lurçat, 10 ans après, Musée d'Art moderne de la ville de Paris, 1976 Exhibition catalogue Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986 Symposium Jean Lurçat et la renaissance de la tapisserie in Aubusson, Aubusson, Musée départemental de la tapisserie 1992 Exhibition Catalogue Dialogues avec Lurçat, Musées de Basse-Normandie, 1992 Exhibition catalogue Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004 Jean Lurçat, le chant du monde Angers 2007 Gérard Denizeau, Jean Lurçat, Liénart, 2013 Exhibition Catalogue Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016    
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    Edmond DUBRUNFAUT

    Les 2 écureuils (the 2 squirrels)

       
    Tapestry woven by the de Wit workshop. With signed label. Circa 1960.
            Edmond Dubrunfaut can be considered as the great 20th century renovator of the Belgian tapestry tradition. He founded a weavers’ workshop in Tournai as early as 1942, then, in 1947, created the Centre de Rénovation de la Tapisserie de Tournai. He produced for various Belgian workshops (Chaudoir, de Wit,...) numerous cartoons destined notably to adorn Belgian embassies throughout the world. Moreover, Dubrunfaut was a teacher of monumental art forms at the Academie des Beaux-Arts de Mons from 1947 to 1978 and then, in 1979, contributed to the creation of the Fondation de la tapisserie, des arts du tissu et des arts muraux de Tournai, a veritable heritage centre for the art of the tapestry in Wallonie. His style, characterised by figuration, strong colour contrasts, draws direct inspiration from nature and animal life (as with Perrot, for example, this artist has a net predilection for birdlife).   The squirrel is one of the artist's recurring themes (cf. ‘Evening Fires’, ‘Squirrels and Birds’...): here he uses the tails as a decorative motif in their own right.  
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    Dirk HOLGER

    Mond und Wasser (Moon and Water)

        Tapestry woven by the Münchener Gobelin Manufaktur. Circa 1970.      
    Holger was a student at the Ecole Nationale d’Art Décoratif d’Aubusson and worked with Lurçat before the latter’s death in 1966. He designed numerous dream-like cartoons woven by the Aubusson workshop. Now settled in the United States, he remains a tireless advocate for, and witness to, modern tapestry design, organising exhibitions and lectures on the subject.   Some of his cartoons have been woven in the two workshops active in Germany, in Nuremberg and Munich, using Aubusson techniques.

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