A charming Aubusson verdure tapestry

late 18th century 320cm x 257cm

late 18th century
the idyllic landscape with verdant foliage and prunus to the foreground, a winding river in the middle distance -disappearing into a dusky landscape, a charming lime -green parrot in the tree to the right with red plumage and game bird to the bottom left, the elaborate border with foliate spray to each corner,
320cm x 257cm (the outer border possibly reduced at some point)

Provenance: Acquired by the present collector from Keshishians of London, 2011.

France in the late 17th century saw an explosion in tapestry production. The 1660s marked a turning point where France became the new centre of tapestry weaving in Europe. Most notably Louis XIV's great minister Jean -Baptiste Colbert set up three main centres -each with a specific type of buyer in mind. The Gobelins in Paris was set up to furnish the Royal Palaces, Beauvais for discerning wealthy clients and Aubusson for less affluent buyers.

While Gobelins and Beauvais had a number of notable designers leading a team of weavers, Aubusson's set up was slightly simpler. The weavers produced pieces which followed the fashions of the day -these could extend to not just hangings but upholstery, curtains and cushion covers.

The weavers of Aubusson focussed on more 'low warp' work which meant a simpler type of tapestry could be created, and quite quickly. These types of tapestries, like the present lot, were characterised by the popular romantic landscapes and verdures. While many said it simplified the process of weaving and were, in some ways, less fluid, they were attractive and meant that a large portion of the population could imitate the grandeur of the Sun King in their own homes.

Literature

Barty Phillips, 'Tapestry,' Phaidon, London, 1994

Edith Appleton Standen, 'Renaissance to Modern Tapestries in the Metropolitan Museum of Art,' The Metropolitan Museum of Art Bulletin/Spring 1987