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By Charissa Bremer-David

French Tapestries and Textiles is a survey of the Getty Museum’s 17th- and eighteenth-century French textiles—one of the world’s best collections. that includes twenty-five notable tapestries woven on the Gobelins and Beauvais manufactories, additionally highlights 3 carpets, knotted-pile displays, and units of embroidered mattress hangings, one in all that is the single entire lit à l. a. duchesse surviving from the period.
Among the significant textiles mentioned during this lavish quantity are the Emperor of China tapestry sequence, the whimsical tale of Don Quixote, and Boucher’s cycle the tale of Psyche. A gatefold within the ebook opens to bare a photo of the stately twenty-nine-foot carpet commissioned for Louis XIV’s Galerie du Bord de l’Eau on the Louvre, a bit by no means publicly displayed during this century.
Each access contains a directory of artists and weavers, date and position of manufacture, and fabrics and methods used, by way of a whole description and a assertion. The accompanying remark offers details at the literary, historic, and visible resource of layout imagery in addition to the context of the textile’s fee and creation. furthermore, each one cloth proven has a whole provenance, exhibition heritage, and bibliography.
For fanatics of French ornamental arts and connoisseurs of textiles, this publication deals a learn either one of the artwork of tapestry- and textile-making and of the cultured culture exemplified by way of those amazing gadgets.

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9 and 12; Coural 1992, p. 21 and illus. p. 16; and also Verlet 1982, p. 405 n. 28. 3. Musee Nissim de Camondo, Paris, inv. 45. The original arms of Chancelier Le Tellier were removed from the lower border corners and replaced by those of d'Argenson. See N. Gasc and G. Mabille, The Nissim de Camondo Museum (Paris, reprint, 1995), pp. -9 5, illus. See also Standen (note i), p. 361 and p. 364 n. 2; and Badin (note 2), p. 26. 4. See Fenaille (note 2), pp. 134-135. Fenaille quotes the 1736 document, "L'Inventaire des tableaux et desseins .

But Chauvelin had taken an anti-Austrian stance against Fleury's policy in the war regarding the Polish succession. 7 WEAVER AND DATE Etienne-Claude Le Blond, whose woven signature appears in the lower right galon, produced three tapestries of the Chauvelin set. He began two portieres in 1728 and a wider weaving in 1729; all three were complete in late 1730. In order to fill the commission by 1730 the three other entrepreneurs of the low-warp looms also worked on the order, Dominique de la Croix, Jean de la Fraye, and Mathieu Monmerque.

172173; Getty/LeVane 1955, pp. 170-171, illus. opp. 176; P. , Chefs d'oeuvre de la collection ]. Paul Getty, (Monaco, 1963)^. ; A. Jones, A Handbook of the Decorative Arts in the J. Paul Getty Museum (Malibu, 1965), no. A-y, p. 13; Standen 1985, vol. i, pp. 361- 364; Sassoon and Wilson 1986, no. 215, p. , 1993, no. 292, p. 172, illus. 12. a la garde particuliere du Sr. 6 cm. Both are in the Cronstedt Collection of the Nationalmuseum of Sweden at Stockholm, inv. in, 21, and n, 76, respectively. See Dessins du Nationalmuseum de Stockholm, Collections Tessin and Cronstedt, Part I: Claude in Audran (1658-1734), exh.

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