French Tapestries and Textiles

207 Pages·1997·32.585 MB·English

by  Charissa Bremer-David

FRENCH
Tapestries
&Textiles
IN THE J. PAUL GETTY MUSEUM

F R E N CH
Tapestries
&Textiles
IN THE J. PAUL GETTY MUSEUM
Charissa Bremer-David
T H E J . P A U L G E T T Y M U S E U M - L O S A N G E L E S
Dedicated to
Edith A. Standen
and
Gillian Wilson
© 1997 The J. Paul Getty Museum FRONT AND BACK COVER: Detail of Le Mois de decembre, Le Chateau
i zoo Getty Center Drive, Suite 1000 du Monceaux from Les Maisons royales. 85.00.309 (see Cat. no. 3).
Los Angeles, California 90049-1687
FRONTISPIECE: Detail of La Collation from UHistoire de I'empereur
de la Chine. 83.00.336 (see Cat. no. 9).
Christopher Hudson, Publisher
Mark Greenberg, Managing Editor FIRST DIVIDER (Gobelins): Detail of Portiere du Char de triomphe.
83.00.20 (see Cat. no. i).
William Peterson, Editor
SECOND DIVIDER (Beauvais): Detail of Psyche et le vannier from
Vickie Sawyer Karten, Designer
UHistoire de Psyche. 63.00.4 (see Cat. no. n).
Amy Armstrong, Production Coordinator
Jack Ross, Photographer THIRD DIVIDER (Savonnerie): Detail of Four-Panel Screen (Paravent).
75.00.1 (see Cat. no. 16).
Library of Congress Cataloging-in-Publication Data
FOURTH DIVIDER (Needlework Hangings): Detail of headboard
(champtourne] from Hangings for a Bed (Lit a la duchesse).
J. Paul Getty Museum.
79.DH.3.3 (see Cat. no. 18).
French tapestries and textiles in the J. Paul Getty Museum /
Charissa Bremer-David.
P. cm.
Includes bibliographical references and index.
ISBN 0-89236-379-7
i. Tapestry—France—History—i7th century—Catalogs.
2. Tapestry—France—History—i8th century—Catalogs.
3. Tapestry—California—Los Angeles—Catalogs. 4. Textile fabrics—
France—History—17th century—Catalogs. 5. Textile fabrics—France—
History—18th century—Catalogs. 6. Textile fabrics—California—
Los Angeles—Catalogs. 7. Manufacture nationale de tapisserie des
Gobelins (France)—Catalogs. 8. Manufacture nationale de tapisserie de
Beauvais (France)—Catalogs. 9. Manufacture nationale de la Savonnerie
(France)—Catalogs. 10. J. Paul Getty Museum—Catalogs,
i. Bremer-David, Charissa, 1958- n. Title.
NK3049.Aiji8 1997
746.3'o944'o7479493—dczo 96-28310
CIP
Contents
vii Foreword
ix Acknowledgments
xi Introduction
xiii Abbreviations
i GOBELINS MANUFACTORY
i. Portiere du Char de triomphe z
z. Les Anciennes Indes: Le Cheval raye 10
3. Les Maisons royales: Le Mois de decembre, Le Chateau
de Monceaux zo
4. Chancellerie: Portiere 28
5. Nouvelle Portiere aux armes de France 34
6. Four Tapestries from UHistoire de don Quichotte 40
7. Four Tapestries from Les Tentures de Francois Boucher 54
71 BEAUVAIS MANUFACTORY
8. Les Grotesques: UOffrande a Bacchus 72
9. Six Tapestries from UHistoire de Vempereur de la Chine 80
10. Carpet 98
11. Four Tapestries from UHistoire de Psyche 106
iz. Les Amours des dieux: Arianne et Bacchus et Bacchus
change en raisin i zo
129 SAVONNERIE MANUFACTORY
13. Carpet 130
14. Carpet for the Galerie du Bord de I'Eau, Palais du Louvre 138
15. Pair of Three-Panel Screens (Paravents] 146
16. Four-Panel Screen (Paraveni) 154
163 NEEDLEWORK HANGINGS
17. Pair of Embroidered Bed Hangings (Bonne-graces] 164
18. Hangings for a Bed (Lit a la duchesse] 172
183 Index
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Foreword
THIS CATALOGUE of the Getty Museum's French tapestries, acquisitions over the last twenty-five years form not only a
carpets, and textiles is the fourth in a series produced by series of splendidly made and well-preserved examples, but
the Department of Decorative Arts. Preceded by Mounted also a range of fascinating subjects.
Oriental Porcelain (1982), Vincennes and Sevres Porcelain The author, Charissa Bremer-David, Assistant
(1991), and European Clocks (1996), this latest catalogue Curator of Decorative Arts, has our admiration and thanks
offers readers the first opportunity to study the Museum's for the years of original research that have borne fruit in
entire collection of French textiles. Because these hangings this book. I am grateful, too, for the conscientious editing
can never be displayed all at once, owing to their large size of Bill Peterson and the handsome design by Vickie Sawyer
and to the sensitivity of their dyes to light, this book offers Karten. The Photo Services staff of the Getty Museum,
the only complete overview possible. Regular visitors to especially Jack Ross, made heroic efforts to photograph
the Museum will recognize many familiar hangings as they these very large objects and produced images of a high
turn the pages, and they will discover others that were never degree of fidelity. The departments of Decorative Arts Con-
before displayed at the Villa in Malibu. With the opening servation and Preparations also contributed in important
of the new museum at the Getty Center we have at last the ways to this survey of the Museum's textiles. To all of these
gallery space to show tapestries in rotation. staff members I am most grateful.
The keen eye of Gillian Wilson, Curator of Deco-
rative Arts, can be discerned in the choice of virtually every John Walsh
one of the Getty's exceptional collection of textiles. Her Director
vn
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Acknowledgments
THIS CATALOGUE would not have been possible without the York; Nina Banna, The J. Paul Getty Museum; Christian
contributions of the staff of the J. Paul Getty Museum. In Baulez, Musee National du Chateau de Versailles; Shelley
particular, the author is deeply grateful to Gillian Wilson, Bennett, Henry E. Huntington Library and Art Gallery,
Curator of Decorative Arts, for her support, encourage- San Marino, California; Nadja Berri, Sotheby's, Zurich;
ment, and unfailing interest throughout the project. Jack Marie-Helene Bersani, Mobilier National, Paris; Domi-
Ross, Photographer, worked tirelessly and met every chal- nique Bondu, Paris; Onica Busuioceanu, The Getty
lenge of photographing the oversize textiles. Editor Bill Research Institute for the History of Art and the Humani-
Peterson reviewed the text with intelligence, sensitivity, ties; Tom Campbell, The Metropolitan Museum of Art,
and unflagging diligence. Mark Greenberg, Managing Edi- New York; Charles Cator, Christie's, London; Jean-Pierre
tor, offered experienced advice and support throughout. Cuzin, Musee du Louvre, Paris; Theodore Dell, New York;
Designer Vickie Sawyer Karten and Production Coordi- Isabelle Denis, Monuments Historiques, Paris; Emmanuel
nator Amy Armstrong have produced a handsome book. Ducamp, Alain de Gourcuff Editeur, Paris; Kathy Francis,
Other staff members of the Museum contributed to this Boston; Gay N. Gassmann, Paris; Ekaterina Vassilievna
effort: Jeffrey Weaver, Department of Decorative Arts; Grichina, Forchungsmuseum der Akademie der Kiinst,
Brian Considine, Jane Bassett, and Adrienne Pamp, Depart- Saint Petersburg; Ebeltje Hartkamp, The Rijksmuseum,
ment of Decorative Arts Conservation; Peter Shapiro, Amsterdam; Wendy Hefford, The Victoria and Albert
Michael Mitchell, Gary Lopez, and the crew of art han- Museum, London; William Iselin, Christie's, New York;
dlers in the Preparations Department; Ann Friedman, Edu- Deborah Kraak, The Henry Francis du Pont Winterthur
cation Department; Jose Sanchez, Photographic Services Museum; Ulrich Leben, Paris; Alexia Lebeurre, Paris;
Department. Amaury Lefebure, Musee National du Chateau de Fon-
Textile conservator Sharon Shore, of Caring for tainebleau; Amelie Lefebure, Musee Conde, Chantilly;
Textiles, Los Angeles, conducted thorough condition eval- Christophe Leribault, Musee Carnvalet, Paris; Jerome Lete-
uations on almost all the textiles and was essential in assem- llier, Saint-Leu-la-Foret; Roman Malek, Monumenta Ser-
bling the hangings for the bed (lit a la duchesse). Her ica, Sankt Augustin; Christa Mayer Thurman, The Art
expertise and knowledge is reflected herein. Institute of Chicago; Sarah Medlam, The Victoria and
The author thanks Edith A. Standen, Curator Albert Museum, London; Paul Mironneau, Musee National
Emeritus, The Metropolitan Museum of Art, New York, du Chateau de Pau; Philippe Poindront, Musee National
who has generously and unreservedly shared her scholar- du Chateau de Compiegne; Alexandre Pradere, Sotheby's,
ship for more than a decade. Paris; Tamara Rappe, The State Hermitage, Saint Peters-
Sincere thanks are offered to those who provided burg; Anne Ratzki-Kraatz, Paris; Jean-Marie Rossi, Ave-
access to archival documents: Jean-Pierre Samoyault and line, Paris; Adrian Sassoon, London; V. K. Schouisky,
Chantal Gastinel-Coural, Mobilier National, Paris; Daniel Forchungsmuseum der Akademie der Kiinste, Saint Peters-
Alcouffe, Musee du Louvre, Paris; Tamara Preaud, Archives, burg; Arlette Serullaz, Musee du Louvre, Paris; Margaret
Manufacture Nationale de Sevres. Swain, Edinburgh; George Vilinbakhov, The State Her-
Many others have assisted the author over the mitage, Saint Petersburg; comte Patrice de Vogue, Vaux-
years by contributing information, facilitating research, le-Vicomte; Deirdre Windsor, The Textile Conservation
or by providing photographic images: Monsieur Achkar, Center, Lowell, Massachusetts; Alice Zrebiec, Sausalito,
Galerie Achkar-Charriere, Paris; Candace Adelson, Memo- California; and Henry S. David, Los Angeles, whose patience
rial Art Gallery, University of Rochester, New York; Tracey and endurance made this all possible.
Albainy, Detroit Institute of Arts; Irina Artemieva, The
State Hermitage, Saint Petersburg; Jacqueline Boccara, Charissa Bremer-David
Paris; Joseph Baillio, Wildenstein and Company, New October 1996
IX