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Discover Mid-America - November 2006
Revived interest in the art of tapestries old and new
If you think tapestries are strictly for museum walls and mega mansions you couldn’t be more wrong. These days they are hanging on walls in condos and average homes, and being offered on eBay.
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| Arts & Crafts tapestry copy of Edward Burne-Jones subject. (photo courtesy of Charlotte Home Furnishings, BC. Canada) |
For decades they had an image problem. They were thought of as being strictly 15th and 18th century European weaving that cost in the high thousands of dollars. The other problem was size. After all, early rare tapestries were made to cover walls in palaces and mansions. However, these days collectors are scouting out affordable late 19th century European tapestries with traditional motifs as well as those made in the 20th century, and newly woven examples in the old styles. Museum exhibits in the past few years revved up interest.
Historically considered the most valuable were the Gobelins and Beauvais made in 17th century France. Even in those days it was expensive to make a tapestry. First, the original designs had to be made and purchased. Next, supplies of good quality wools and silks were purchased for the weavers to use. Then, there were the salaries to be paid to the weavers during the months it took to complete a tapestry. This became even more costly when the tapestries were designed in sets.
Designers were the famous painters of the day, such as Francois Boucher. They depicted the idyllic lifestyle of the 18th century and were purchased around the world.
Much attention was given to the borders. Designs ranged from swags of flowers, trophies and grotesques to simply shade yellow imitating gilt frames. Those made to fit an entire wall had no borders.
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| Brussels tapestry c.1537-1570 (photo courtesy of Patrimonio Nacional Palacio Real de la Granja De San Ildefonso, Spain) |
Most familiar to collectors are those made in Aubusson. They were cheaper and popular with the wealthy of the late 18th to early 19th centuries who wanted the look of tapestry but didn’t need the elegance of a Beauvais. Besides, the Aubussons often copied the designs of the Beauvais and Gobelins. And, you thought “knock-offs” are new!
The French Revolution marked the end of the Beauvais factory and by the end of the 18th century Aubusson closed most of its workshops.
CLUES
With the growth of the upper middle class in America and new millionaires, there was a revival of interest in tapestries as a status symbol near the end of the 19th century. For the wealthiest there were authentic antique French tapestries. At the same time they became popular in Europe.
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| Modernist tapestry of abstract street scene. (photo courtesy John Toomey Gallery, Oak Park, IL) |
To keep up with the demand the art was revived in France and Belgium using the same subjects as used in 17th century tapestries. They can be recognized by their 5’ X 5’ size. By the early 20th century a different type of tapestry was made in Belgium, usually rectangular. The colors were pale yellows and black. Themes were religious as well as neoclassic. They were also sold by catalog. In the ‘20s and ‘30s, the subjects were often of contemporary events such as the 1933 Chicago World’s Fair. By the Depression they were out of fashion and into attics. In the 1950s, tapestries were made by individuals and artists with modernist designs.
Today many companies are importing tapestries copied from early styles and designs. Among them is Charlotte Home Furnishings. To learn about available designs and history contact their website, www.saveontapestries.com. The company is based in Canada.
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