La Musique Tapestry by Francois Boucher

#20947

Tapestry  

10’ 4” x 17’ 8”

Wool and Silk pattern wefts on wool warp; warps/inch.

Beauvais, French Royal Tapestry Workshop under the direction of Nicolas Besnier and Jean – Baptiste Oudry (1734-1753), or A.C. Charron (1753-1780).

Designed by Francois Boucher

Subject: La Musique (Music) No. 9 of a set of 14 panels “Fetes Italiennes” or “Italian Scenes”, showing peasants and working-class folk with a few panels displaying members of the upper classes at play.  “Music” is one of these.

Boucher’s original drawings for Music (and other tapestries as well) are in The Stadelkunst Institute (Frankfort, Germany), and in a private collection in Paris.

This was Boucher’s first tapestry design commission for the Beauvais factory. His other work includes the “Nobles Pastorales” series in the 1750’s.

There is no complete set of all 14 tapestries extant and no complete set was ever woven for a single client.  The present panel lacks a mark in the outer plain blue border, now excised and replaced by a later restoration.  The mark would have given the place (Beauvais) and either Besnier’s or Charron’s name.

The entire set of the “Fetes Italiennes” comprises:

1. Le Operateur (The Charlatan)
2. La Bohemienne (The Gypsy Fortune Teller)
3. Les Pecheuses (The Fishing Girls)
4. Les Chasseurs (The Hunting Boys)
5. La Curiosite (Curiosity)
6. Les Filles aux Raisins (Girls Gathering Grapes)
7. La Danse (Dance)
8. La Collation (The Luncheon)
9. La Musique (Music)
10. Le Jardinier (The Gardener)
11. La Bergere
12. La Cabaretier (The Inn Keeper)
13. Le Perroquet (The Parrot)
14. Le Marchant d’Oeufs (The Eggseller)

Of the Fetes Italiennes, No. 9, Music was executed eleven times: 1745, 1746, 1750 4 times, 1751 twice, 1753 twice. 1754.

There was a partial set of six panels including Music sold in Paris, M.X…Collection, Galerie Georges Petit, 23.5.27 and all are illustrated in the catalogue.  The version of Music, lot 2 is shorter, 3.15 m. height, 2.90 m. long.

Only the right half of the whole composition appears, ending just to the left of the outstretched arm of the cellist in the center.  The trellised garden ledge and tower, along with two figures are not present.  Our panel is 8’ 8” longer than the 1927 example.  The double guilloche border is common to both versions and is one of the standard Beauvais borders used as late as 1774.  It also appears in the set in N.Y.

The sizes and subjects of the X … Collection pieces are as follows:

Dance             3.10 m x 4.75 m
Music             3.15 m x 2.90 m
Hunters         3.10 m x 2.75 m
Fishers           3.10 m x 2.0 m
Entrefenetre 3.05 m x 1.45 m
Entrefenetre  3.10 m x 1.40 m

Music is therefore, in its original form, the largest of the set.

The 1927 catalogue notes that there are longer replicas of Music with the additional personages to left.  This variation and reduction of scenes is not uncommon and because of the weaving process, here from right to left, is easy to accomplish.  The process proceeds horizontally, and the weavers can start or stop at any point in the cartoon.

Panel no. 9, Music, was woven in:

1745 for M. Gautier (nos. 7, 8, 9)
1746 for General Sale (nos. 7-10)
1750 for M. d’Aremberg (nos. 7-10)
1750 for Sueden (nos. 7, 9, 10)
1750 for M. Lalande (nos. 2, 8-10)
1750 for General Sale (nos. 1-4, 7-10)
1751 for M. Thibault (nos.1,3,4,7,9,10)
1751 for M. de Vermonoye (nos.7-9)
1753 for M. Duvocel (nos. 9-11)
1753 for Mme. Geoffrin (nos. 4,7-10)
1754 for M. Marchant (nos. 3,4,9,11)

Since our panel employs the full cartoon, it was likely one of the earlier editions, possibly as early as 1745 or 1746.

The Metropolitan Museum of Art in NY has 9 pieces including one duplicate  slightly expanded to left.  Music is not included.  Standen is in error in stating that the Met’s set is complete.

The series is internally stylistically coherent and some of the same figures and scenic elements are reused.  For example, Music and The Gardener (no. 10) both employ the same trellised garden walls and the female in profile in The Gardener reappears almost exactly as the central girl close to the cellist in Music.  The putti riding dolphins in the fountain at the right of Music reappears in other examples of Boucher’s work.  The rustic leaning on the ledge is of the same laborer social class as The Gardener in no. 10.  The dimensions of “Music” are the greatest for any of the series and although it is unknown how many of the eleven editions of this design were produced in the fully extended large format, it was clearly a special creation.  No armorial device was ever present.  Sets were often split and recombined, and it is not possible to trace all the editions on individual panels.

Condition:

There has been selective color fading, but the reds have held up very well.  The condition is quite good and splitting is minor.  The silk has been replaced.  The borders have been shaved on the edges with the loss of any marks in the plain dark slip.  The plain strip has been replaced at the ends.

References:

1. Jules Badin, Le Manufacture de Tapisseriede Beauvais, Paris, 1909. The full chronology of all series is given, and it is still the essential primary source work.

2. Edith Standen, European Post-Medieval Tapestries in the Metropolitan Museum of Art, NY, 2 Vols. Italian Village Scenes (Fetes Italiennes), No. 78 pp 507-533.

3. Trois Siecles de Tapisserie de Beauvais, Beauvais, 1964.

Verdure Landscape Tapestry with Birds

#20258

Tapestry Panel

Origin: Aubusson, France

Size: 10’9” x 13’8”

Circa: 1700

Material & Structure: Wool warp, 18 warps per inch; wool and silk pattern wefts, Z-2; woven sideways.

This extremely attractive verdure tapestry panel has a densely forested summer landscape in shades of blue and green occupying the right half.  Sunlight dapples the foliage.  A large and realistically rendered hawk dominates this part of the scene and is perched on a branch at the extreme right. On a nearby branch is a long-tailed parrot and there are several songbirds among the leaves.  At the bottom center is a pair of ring-necked birds, perhaps intended to be pheasants, but lacking their long, characteristic tails.  The tree foliage is schematically drawn, with simple rounded leaves on a variety of trunks.  The foreground flowers are more recognizable, however there are asters between the pheasants(?) and carnations in the far lower left corner.

The center is dominated by a classical ruined archway with engaged Corinthian columns.  The ruined archway is a trope taken from antique Roman buildings, triumphal arches in particular, and appears frequently in paintings by Poussin and his Roman followers. It obliquely refers to the antiquity and continuity of Roman civilization: while ruined, it still survives and dominates.  Framed by the arch is a rustic building, the outlier of the village, complete with a church, further to the left.

A large tree with blasted branches firmly closes the pastoral scene at the left. There are no people or human activities visible.  The general style is wholly consistent with the other Aubusson verdures of the period. Aubusson made a specialty of these panels, in a wide range of sizes, in the 17^th and 18^th centuries. An attribution to that center, in south central France, is therefore, wholly tenable. The colors are well preserved, especially the wide variety of blues and greens.

There are some minor repairs, but they do not affect the design. The present narrow dark blue slip perfectly frames the whole, replacing the original frame.

To view this tapestry on our website, click here.

#17577 Aubusson: circa 1800

Rug #17577
Aubusson Carpet
France, Aubusson Workshops
Size: 15’6” x 25’6”
Period: Directoire, 1797-1804
Structure:
warp:    wool, tan to light brown, natural, Z-2-S, 8/in.
weft:     wool, Z-2-S, 24/in
technique: slit tapestry

This flatweave carpet is a fine example of the relatively short-lived “Pompeian” style with purely two-dimensional surface decoration popular in the years after the French Revolution, but before Napoleons’ grandiose imperial aspirations.  The open, classicizing ornament in distinct panels is an adaptation at several removes of wall frescoes discovered at Pompeii in the later 18^th century which came as a revelation to European designers who, except for the grotesques of the Golden House of Nero in Rome, had no experience of classical wall décor.  The light, airy, spare, elegant patterns were first promulgated in France by Percier le’Fontaine, particularly for furniture and objects, and were then interpreted by designers working for the major Aubusson workshops.  The artists include Koby, la Segliere Desfarges, Lagremee, Dubois, Barraband and most prominently Harmayde de Saint-Ange, the most innovative of the lot.  Unfortunately signed cartoons or sketches by these artists do not seem to have survived in any significant quantity and one cannot attribute particular carpets to individual artists.  But our piece is surely the work of one of these designers.

The period of popularity of the Pompeian style was quite short.  The Revolution abruptly cut off what was in the 1780s a steadily increasing demand for Aubusson rugs of all types.  May workshops closed so that by 1796 the local industry was at such a low evv that unemployed workers were rioting and a military regiment had to be garrisoned in town to prevent looting.  Thus, the style has to begin after that time as there is a radical break with what went before.

After 1804 style quite rapidly changes from Directoire neo-classical chasteness to the much heavier full Empire style with thick wreaths and garlands, military elements in abundance, and so obvious Imperial symbols, more three dimensional and generally richer and opulent appearance.  Thus our piece, of purely Pompeian character may securely be dated circa 1800.

It must be noted parenthetically that much of Aubusson production, especially after 1800 when a workshop was set up in Paris in the Marais district by Sallandrouze de Mornaiz, who previously operated only in Aubusson, to make pile carpets, is in full knotted structure and so it is incorrect to call all French, pile rugs Savonneries.  Sallandrouze became the leading merchant-entrepreneur in Aubusson, often collaborating with another dealer, Kegier.  He certainly had the resources to make rugs of any size and it is not impossible that our carpet may have some connection with him.  A third shop, that of Debel was also active in Aubusson at this time and his may be another candidate for its source.

By 1807 an improving economic situation had drawn other businesses to Aubusson and shops were owned by F. Roby, P. Maingonnat, L. Fournier, F. Desfarges, J. Peyroux and especially Bellanger & Vayson, but these are too late for our piece.  Unlike Brussels or Antwerp tapestries, pieces are not market to indicate workshops and the few designs do not have factory indications.

After 1806 Rogier & Sallandrouze were busy with many court commissions for pile rugs and the designer Saint-Ange who supplied them with designs had shifted to the heavier Empire style, but before that date that combination could be the source of our rug.  But any of the other designers could have done the work as well.  Thus Jarry gives neither designer nor workshop in her book’s plate captions.

As for a possible patron, the matter is inconclusive at best.  It has been suggested that the rampant lion in the central square and the lion masks in the corner squares are quasi-armorial, referring to the possible patron or at least to his status.  But there are many examples of this period where a pictorial motif appears in a setting of panel borders, geometric flowers, anthemion scrolls, garlands, rosettes, etc. with no external reference, and not just in rugs.  In silks designed by Rony of c. 1800 from Lyon we find a cupid on one, a nymph on another, in precisely the same sort of paneled array, among exactly these same decorative elements.  The same type of baguette with scroll ornaments and intermittent lozenges appears on another c. 1800 silk textile.  Eagles and cryphons appear on rugs of the period in central devices or in border medallions.  Similar border styles and ornamental panels with muchan or animal figures also appear on painted wallpaper of the period.  A good selection of these designs appears in Les Nouvelles Collections de l’Union Centrale des Arts Decoratifs, 19^th series, esp, pls. 85-7, 89, 91-2, 97, 106.  Therefore the lion is most unlikely to be referential, but merely decorative, and could be replaced by any one of several other animals or other devices appropriate to a neo-classical design scheme.

The use of borders with prominent square corner elements is very characteristic of the period.  The double panels at each end allows an otherwise square composition to be enlarged without changing the proportions of the central section.  For a somewhat shorter rug a single extra panel at each end would suffice.

The lion masks in the corners ensuite with the central beast provide a consistency of motif which again appears in any number of variants: musical instruments, classical military trophies, grapes (corners) and classical wine cup (centre), etc. (Cf. Nouvelles Colls. Pls. 88, 95, 100).  Other animals in the center may include the peacock.

Comparanda include:

Jarry, Carpets of Aubusson, fig. 35 and fig. 43.  For a closely related (pile) Savonnerie, see Jarry, Savonnerie, fig. 58.

 

*Post written by Peter Saunders, edited for Rahmanan by Katrina Mauro

#21100 French Tapestry

Rug # 21100

Tapestry, probably Beauvais, France

7’0” x 7’8”

Probably second half of the 19^th century

In the style of Francois Boucher (mid 18^th century)

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Structure and Materials:

Warp: wool, natural, tan, Z-3-S, 19-20/in

Weft:    wool, Z-2-S, 50-60/in

silk, Z-2-S, 50-100/in

Description:

The present panel depicts a scene from classical mythology, but a full identification is not yet possible.  In a mountainous, wooded landscape a herdsman plays a flute beneath a tree on a hillock, all to the right.  A lyre rests at his feet and a shepherd’s crook lies in his lap.  At the upper right, Mercury (Hermes) flies in clutching a quiver and bow.  Behind the tree at far right are several cows.  A youthful, winged figure, almost certainly Cupid (Eros) listens raptly to the music.  Three maidens in dancing poses approach from the left up a slope.  The image is closed on the left by a full, leafy tree and floral garlands hang from trees on both sides.   There are still lifes of fruit in the foreground as well as naturalistically depicted flowering plants.

The subject of the tapestry hinges on the identity of the piping figure.  The lyre would indicate Apollo, but since it has been discarded in favor of the flute, the identification is less likely.

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Remarks:

What Beauvais  series this is not from is easier to determine.  It is not a part of either The Loves of the Gods (Amour, des Dieux) nor Scenes from Operas, both executed at Beauvais from 1750 onward.  The former series has much larger (up to 14’0” x 17’0”) panels and more complex iconography.  The latter series of only four subjects is not comparable in subject matter.  The style is certainly derivative of Boucher, but the rendering seems less assured and more generic.  It is not the work of Gobelins: there is a Loves of the Gods series from that manufactory, but neither the large panels nor the subsidiary sections, executed from 1757 onwards, are in any way similar to the present piece even though a few share subject matter with the contemporary Beauvais ensemble.

We are left with two possibilities: first that this panel is part of a larger, untraced mid 18^th century tapestry, itself likely part of a series, of Beauvais origin.  Less likely since all the action is directed toward and converges near the Cupid figure.  Secondly, that it is a 19^th century quasi pastiche of Boucheresque themes and depictions.  The relatively small size (see below), a feature of 19^th century production, may militate in this direction.  The date, then, could well be in the 2^nd half of the 19^th century.  The standard work on Beauvais weaving (Jules Badini Le Manufacture des Tapisserie de Beauvais, 1909, Paris) does not discuss 19^th century production in any detail and is, in any case, out-of-date.  No such piece appears in major museum catalogues.

Condition:

Originally there was a faux giltwood picture frame border about 6”-8” wide, giving and overall size of 8’0”-8’4” x 8’8”-9’0”.  It has been slightly framed all around, especially on the right.  A plain woven two tone brown selvage has been added.

There are areas of wear and powdering in the silk; minor splitting, and creases.  The colors are slightly faded, but the red of the piping figure has held up well.  The distant landscape is quite pastel.

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To view this tapestry on our website, please use the following link:

http://www.rahmanan.com/inventory/show/21100/

*Written and researched by Peter Saunders, edited by Katrina Mauro.

#20319 French Tapestry: circa 1900

Rug #: 20319

Tapestry, Gobelins Factory, France

9’0” x 6’4” (2.77 m x 1.92 m)

Circa 1900

“The Air” or “Aurora & Cephalus”, from a set of The Four Elements

From a design of Francois Boucher

Structure:

Slit tapestry weave.

Warp:   linen, natural, beige, Z-2-S, 25/in

Weft:    silk, Z-2, 90 wefts/in² , or

Wool, Z-2-S, plain tan edge and various small details

No marks of origin

Subject:

This panel is the first of a series of four depicting classical allegories of The Elements (Air, Earth, Water, Fire).  Francois Boucher created the original paintings around 1770 and the first edition of the set was woven between 1772 and 1776.  “Air” was the first woven and was 3.0m x 1.85m, a taller and narrower format than our example.

The figures are: male, Cephalus, dressed as a hunter; female, Aurora; and Cupid (Eros), all within a tall, airy pavilion supported by four thin colonettes and topped by a garlanded baldachin.  The figures rest on a garden seat and there are trees and flowers in the background.  A dog chases some birds in the foreground.  In the other tapestries in the series, there are similar male/female pairings (Vertumnus and Pomona for Earth, Neptune and Amymone for Water, and Venus and Vulcan for fire).

Remarks:

1. The series was copied several times between 1894 and 1897 from the original cartoons in the Louvre.  Our example is not copied exactly and is not one of the late 19^th Century copies.
   1. The design is reversed: in the original Cephalus is to the left and Aurora to the right;
   2. The proportions differ, the original is narrower and taller (3.5 m x 2.56 m);
   3. Elements are added or changed, e.g. the long vertical hanging garlands along the rear colonette of the pavilion; the dog (reversed in position) has changed his coat; the bases of the colonettes are more visible in the later version;
   4. The faces are sweeter and softer with Cephalus given a more youthful and feminine look;
   5. The background landscape has changed and the tree has been moved behind the rear upright; many other minor compositional changes are evident.

Now this process alone is not sufficient to imply a later date since as early as 1779 the models were modified in their details and the sizes were reduced in the case of a particular order.

This implies that our tapestry was not copied from an original cartoon but from another tapestry.  Most important, the entire composition is reversed and this occurs when a tapestry is copied from another: the original is placed face up behind the warps, but the weaver works from the back of the new piece, thus reversing the sense of the finished work.

The border in early pieces from this series is a brown, tone-on-tone mosaic imitating a picture frame while here it’s a plain brown band.

Date:

The quality of weaving is extremely high and is fully comparable to the best early work.  The soft tonality in beige-gold-rust tones differs from the fully colored period examples.  This panel is not of the dimensions of the 1894-97 series discussed by Fenaille (1906 and later).  He does not mention later editions.  The tonality is popular from the later 19^th century and appears on many late copies of earlier panels.  One may reasonably conclude that this panel is an early 20^th century reproduction.  The other three panels have not been recorded.  The Gobelins source is clear as the excellent quality of workmanship is not approached at Beauvais or Aubusson, and the designs have always been associated with Gobelins.  The shorter height indicates a smaller room, possibly in an urban context rather than in a country chateau.

To view this tapestry on our website use the following link:

http://www.rahmanan.com/inventory/show/20319/

*Written and researched by Peter Saunders, edited by Katrina Mauro.