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  • Les fruits d'or (the golden fruits)

       
    Aubusson tapestry woven in the Tabard workshop. With signed label. Circa 1965.
       
    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.   “Les fruits d'or” is thus, characteristic of Ilhe’s bucolic inspiration.
  • Sève blanche (white sap)

       
    Aubusson tapestry woven by the Pinton workshop. With signed label. Circa 1960.
     
        Fumeron designed his first cartoons (he would ultimately make over 500) in the 1940’s, in collaboration with the Pinton workshop, he was then commissioned on numerous occasions by the state before participating in the decoration of the ocean liner “France”. His work was figurative to begin with and influenced by Lurçat, then turned towards abstraction, before coming back to a style characterised by colourful figurative and realistic depictions from the 1980’s onwards.   The title refers to the artist's naturalist streak (Cf. ‘la souche’[the stump]). At the time, whatever the title, almost all the cartoons included a coloured circle ( = light) obstructed by solid verticals.
  • Trésor d'Amphitrite (Amphitrite's treasure)

        Aubusson tapestry woven by the Berthaut workshop. With torn label. 1949.       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 …   A synthesis (as early as 1949!) between Sea and Music, omnipresent themes for the artist, in an unusual chromatic range. The theme of underwater treasure would be taken up in a more literal way by Perrot, in ‘Trésors enfouis’ (Buried treasures) for example.     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, n°18 Exhibition Catalogue, Jean Picart le Doux, tapisseries, Musée de Saint-Denis, 1976 Exhibition Catalogue Jean Picart le Doux, Musée de la Poste, 1980    
  • La vendéenne (the vendean)

      Aubusson tapestry woven by the Four workshop. N°1/6. Circa 1990.
        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 : he inventories trades and ethnographic types.  
  • Oliviers avec ciel jaune et soleil (Olive trees with yellow sky and sun)

     
     
    Aubusson tapestry woven by the Four workshop. With label, n°6/6. After a painting by the artist, produced in 1889, in the Minneapolis Institute of Arts.  
            The Four workshop produced a certain number of hand-woven tapestries which depicted works of the great masters : thus Klee, Modigliani, Macke or, as here, Van Gogh are faithfully reproduced in wool that reflects the shading and brushstrokes of the artist’s original.
  • Le cirque (circus)

       
    Aubusson tapestry woven by the Pinton workshop. Circa 1945.
          The artist Marguerite Louppe, married Maurice Brianchon in 1934. She then went on to assist him regularly with the realisation of large-scale decorative mural work; in the same way, when Jacques Adnet approached Brianchon in the 1940’s to ask him to work on tapestry cartoons, Louppe would also contribute some of her own designs. The style (use of perspective and shading ...) the themes are usually (except from our cartoon, with a more working-class inspiration) a throw-back to the classical decorative tradition “à la française” of which Adnet and the Compagnie des Arts Français considered themselves the advocates : soon however, Lurçat and his followers would sweep aside this aesthetic despite its obvious successes.
  • Enclos végétal (plant enclosure)

     
     
    Tapestry woven by the Braquenié workshop. Circa 1965.
        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. In 1966 she presented an exhibition of 20 tapestries all dealing with the theme of enclosure : although no wall or fence is visible, perhaps the reference is an allusion to the mediaeval “hortus conclusus".     Bibliography : Paul Caso, Mary Dambiermont, Editions Arts et voyages, 1975, ill p.110  
  • La cage aux oiseaux (the bird cage)

          Aubusson tapestry woven in the Pinton workshop. With label, n°1/6. Circa 1980.       Although in his youth Lorjou was a silk fabric designer and an artist specialising in large formats used as posters for exhibitions (“la peste en Beauce” “the plague in the Beauce” 1953, measuring 250 x 360cm for example), he only turned his hand to tapestry design relatively late on : maybe he felt that his rather rough and ready style was somehow inappropriate to being woven (it is noteworthy that other artists to whom he was close, Rebeyrolle, Mottet, Sébire, ... never had their work realised as tapestries). In the 1970’s his style moved away from expressionism to something more dreamlike and it is at this point that he gave a few designs to the Pinton workshop.   The colours employed, the bird motifs are all characteristic of Lorjou’s work in the 1970’s. The effects created by the thickness of the paint used are rendered in the tapestry by the use of different stitches.  
  • L’oiseau de feu (the firebird)

          Aubusson tapestry woven in the Pinton workshop. With signed label. 1963.       With a taste for the large-scale, influenced by Untersteller at the Ecole des Beaux Arts, Hilaire undertook numerous mural paintings. In the same vein, beginning in 1949, along with a number of other artists stimulated by Lurçat, (he would join the latter at the A.P.C.T. Association des Peintres-Cartonniers de Tapisserie) he designed a number of cartoons some of which were woven at Beauvais or at Les Gobelins.   “L’oiseau de feu »  is a rare example of the dynamic in works by Hilaire who has accustomed us to more static subjects like hothouses and  forest scenes : his rather fragmentary and kaleidoscopic style is however admirably suited to conveying the idea of movement.   Bibliography : Exhibition catalogue Hilaire, œuvre tissé, galerie Verrière, 1970, ill. Exhibition catalogue, du trait à la lumière, Musée Départemental Georges de la Tour, Vic-sur-Seille, 2010.    
  • Santa Barbara II

         
    Aubusson tapestry woven by the Pinton workshop. With signed label, n°2/6. 1960.
                 

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