.jpg?w=1)
.jpg?w=1)
拍品专文
The present lot belongs to an early group of French Savonnerie carpets frequently referred to as Louis XIII carpets. Although it is widely believed that this group were actually woven between Louis XIII’s death in 1643 and the succession of Louis XIV to the throne in 1661, they are still often designated as “so-called Louis XIII” carpets to distinguish them from the more prevalent and well-known Louis XIV carpets woven for the Apollo Gallery and the Grand Gallery for the Louvre Palace.
In order to stop the economic drain caused by importing carpets from Turkey and India, Henri IV (reigned 1589-1610) prohibited the entry of Eastern carpets into France and more importantly encouraged French carpet production by granting workshop space in the basement of the Louvre below the Grande Galerie to Pierre Dupont tapissier ordinaire en tapis de Turquie et façons de Levant on January 4, 1608 (see Verlet, Pierre, The James Rothschild Collection at Waddesdon Manor: Savonnerie, London, 1982, p. 28). One of Dupont's apprentices, Simon Lourdet, quickly became so proficient in the trade that he ingratiated himself to the Queen, Marie de Medicis, who allowed him to install another workshop in the former soap factory, or savonnerie at Chaillot. The name Savonnerie then became synonymous with French pile woven carpets. A partnership agreement between Dupont and Lourdet was signed on September 5, 1626 to share the profits and expenses of the two workshops and both produced carpets of very similar design up until 1664. As no records survive from this period it is very difficult to attribute this carpet specifically to either workshop.
The production of Savonnerie carpets at this time was solely made for the order of the King, his family and as dignitary gifts to foreign diplomats and to members of his court. Most of these early Louis XIV carpets, with a few exceptions, are small in size. The smaller carpets were perhaps intended as table carpets while the bigger carpets were used as floor coverings. Many of the carpets thought to have been used as table carpets include depictions of campanes or tassels, which would hang down from the table in a trompe l'oeil imitation of the bell-like tassels found embellishing needlepoint and tapestry furniture coverings of the time. A similar carpet in the Wrightsman Collection of the Metropolitan Museum of Art shares many features with this carpet including open weave baskets and ormolu-mounted porcelain bowls but includes decorative tassels surrounding the main field (see S. Sherrill, Carpets and Rugs of Europe and America, Abbeville Press, New York, 1996, p. 64, plate 67). Because the offered carpet is of relatively small size, it is possible that its original function was as a table carpet even though it is lacking the depiction of tassels.
Both floor and table carpets from this early Louis XIV period share in common many features, foremost the black, dark blue and sometimes brown ground color that is replete with strewn colorful, naturalistic and identifiable single flowers or sprays often entwined with blue ribbons. A wide and defined border surrounds the field containing similar flowers and floral arrangements creating a millefleurs effect. Flower arrangements of sunflowers, tulips, anemones, dahlias and carnations sit in silver basins, cartouches or as seen in our example, both in blue and white Chinese porcelain bowls and low open work straw baskets. The minor borders separating the border from the field and outlining the border are typically drawn from elements of the antique or from borders used in tapestries from the same period. A scrolled leaf and blossom ornament is used in the inner border of our example with a scrolling vine and palmette flowerhead in the outer border.
It is not known who designed or provided the models for these carpets but the overall concept is based on Persian, Indian and Turkish prototypes combined with the European proclivity for flowers. Contemporary designs for embroidery and tapestries are very similar and Dupont was known to be an embroiderer, as well as a carpet weaver. Another artist working for the crown, Georges Baussonnet signed a number of drawings dated between 1592 and 1636 that are quite similar to the accurate depiction of flower specimens in these carpets (see Verlet, fig. 101). Further inspiration can be found in still life paintings from the Netherlands and one in particular, painted by Jacques Linard (c. 1600-45) of a Basket of Flowers currently in the Louvre, bears strong resemblance to the depiction of the basket of flowers seen at either end in the main border of our carpet (see detail). The strong similarities and repetitious designs of these early Louis XIV carpets indicate that the repertoire of designs of this relatively young workshop was limited. However, this also may suggest that they were a success and found favor with the court.
Several carpets from this group survive and they can be divided into two groups with some variations. The first group, to which our carpet belongs, is characterized by a ribbon-tied floral wreath encircling a spray of blossoms in the inner field. Other examples in this group with a central wreath are the previously mentioned carpet in the Wrightsman Collection at the Metropolitan Museum of Art; the Musée Nissim de Camondo, inv. no. 177 (see F. Mathey, Union Centrale des Arts Décoratifs: Musée Nissim de Camondo, Alençon, 1983, p. 39); the James A. de Rothschild Collection at Waddesdon Manor (Verlet, cat. no. 1, fig. 104); Musée du Louvre (Verlet, fig. 106); the ex-collection of Thelma Chrysler Foy, Parke-Bernet, New York, 22-23 May 1959, lot 770; and Mme. De Polès, Galerie George Petit, Paris, 22-24 June 1927, no. 308.
Similar carpets without a central wreath but sharing an exuberance of flowers in the field are in the Tarica Collection (see S. Faniel, and P. Lavallois, Le Dix-septième Siècle Français, Paris, 1958, p. 131); in the Musee des Arts Décoratifs (see M. Jarry, The Carpets of the Manufacture de la Savonnerie, England, 1966, fig. 7); and Collection of André Meyer, Christie’s New York, 26 October 2001, lot 48 and later offered at Sotheby’s New York, 11 December 2014, lot 20.
The second group is longer in length and may include a central wreath but are distinctly marked by large scrolling acanthus leaves that stretch to each corner from the wreath or a central floral cartouche medallion. Examples are in the J. Paul Getty Museum (see Bremer-David, Charissa, French Tapestries and Textiles in the J. Paul Getty Museum, Los Angeles, 1997, p. 131); The Wrightsman Collection (inv. 1983.268) (see Bremer-David, p. 136, fig. 13.6); Sotheby Parke Bernet Monaco, 11-12 February 1979, lot 300; Collection of Mr. and Mrs. Deane Johnson, Sotheby Parke-Bernet New York, 9 December 1972, lot 115; and Estate of Mae C. Rovensky, Parke Bernet Galleries New York, 15-19 January 1957, lot 833.
In order to stop the economic drain caused by importing carpets from Turkey and India, Henri IV (reigned 1589-1610) prohibited the entry of Eastern carpets into France and more importantly encouraged French carpet production by granting workshop space in the basement of the Louvre below the Grande Galerie to Pierre Dupont tapissier ordinaire en tapis de Turquie et façons de Levant on January 4, 1608 (see Verlet, Pierre, The James Rothschild Collection at Waddesdon Manor: Savonnerie, London, 1982, p. 28). One of Dupont's apprentices, Simon Lourdet, quickly became so proficient in the trade that he ingratiated himself to the Queen, Marie de Medicis, who allowed him to install another workshop in the former soap factory, or savonnerie at Chaillot. The name Savonnerie then became synonymous with French pile woven carpets. A partnership agreement between Dupont and Lourdet was signed on September 5, 1626 to share the profits and expenses of the two workshops and both produced carpets of very similar design up until 1664. As no records survive from this period it is very difficult to attribute this carpet specifically to either workshop.
The production of Savonnerie carpets at this time was solely made for the order of the King, his family and as dignitary gifts to foreign diplomats and to members of his court. Most of these early Louis XIV carpets, with a few exceptions, are small in size. The smaller carpets were perhaps intended as table carpets while the bigger carpets were used as floor coverings. Many of the carpets thought to have been used as table carpets include depictions of campanes or tassels, which would hang down from the table in a trompe l'oeil imitation of the bell-like tassels found embellishing needlepoint and tapestry furniture coverings of the time. A similar carpet in the Wrightsman Collection of the Metropolitan Museum of Art shares many features with this carpet including open weave baskets and ormolu-mounted porcelain bowls but includes decorative tassels surrounding the main field (see S. Sherrill, Carpets and Rugs of Europe and America, Abbeville Press, New York, 1996, p. 64, plate 67). Because the offered carpet is of relatively small size, it is possible that its original function was as a table carpet even though it is lacking the depiction of tassels.
Both floor and table carpets from this early Louis XIV period share in common many features, foremost the black, dark blue and sometimes brown ground color that is replete with strewn colorful, naturalistic and identifiable single flowers or sprays often entwined with blue ribbons. A wide and defined border surrounds the field containing similar flowers and floral arrangements creating a millefleurs effect. Flower arrangements of sunflowers, tulips, anemones, dahlias and carnations sit in silver basins, cartouches or as seen in our example, both in blue and white Chinese porcelain bowls and low open work straw baskets. The minor borders separating the border from the field and outlining the border are typically drawn from elements of the antique or from borders used in tapestries from the same period. A scrolled leaf and blossom ornament is used in the inner border of our example with a scrolling vine and palmette flowerhead in the outer border.
It is not known who designed or provided the models for these carpets but the overall concept is based on Persian, Indian and Turkish prototypes combined with the European proclivity for flowers. Contemporary designs for embroidery and tapestries are very similar and Dupont was known to be an embroiderer, as well as a carpet weaver. Another artist working for the crown, Georges Baussonnet signed a number of drawings dated between 1592 and 1636 that are quite similar to the accurate depiction of flower specimens in these carpets (see Verlet, fig. 101). Further inspiration can be found in still life paintings from the Netherlands and one in particular, painted by Jacques Linard (c. 1600-45) of a Basket of Flowers currently in the Louvre, bears strong resemblance to the depiction of the basket of flowers seen at either end in the main border of our carpet (see detail). The strong similarities and repetitious designs of these early Louis XIV carpets indicate that the repertoire of designs of this relatively young workshop was limited. However, this also may suggest that they were a success and found favor with the court.
Several carpets from this group survive and they can be divided into two groups with some variations. The first group, to which our carpet belongs, is characterized by a ribbon-tied floral wreath encircling a spray of blossoms in the inner field. Other examples in this group with a central wreath are the previously mentioned carpet in the Wrightsman Collection at the Metropolitan Museum of Art; the Musée Nissim de Camondo, inv. no. 177 (see F. Mathey, Union Centrale des Arts Décoratifs: Musée Nissim de Camondo, Alençon, 1983, p. 39); the James A. de Rothschild Collection at Waddesdon Manor (Verlet, cat. no. 1, fig. 104); Musée du Louvre (Verlet, fig. 106); the ex-collection of Thelma Chrysler Foy, Parke-Bernet, New York, 22-23 May 1959, lot 770; and Mme. De Polès, Galerie George Petit, Paris, 22-24 June 1927, no. 308.
Similar carpets without a central wreath but sharing an exuberance of flowers in the field are in the Tarica Collection (see S. Faniel, and P. Lavallois, Le Dix-septième Siècle Français, Paris, 1958, p. 131); in the Musee des Arts Décoratifs (see M. Jarry, The Carpets of the Manufacture de la Savonnerie, England, 1966, fig. 7); and Collection of André Meyer, Christie’s New York, 26 October 2001, lot 48 and later offered at Sotheby’s New York, 11 December 2014, lot 20.
The second group is longer in length and may include a central wreath but are distinctly marked by large scrolling acanthus leaves that stretch to each corner from the wreath or a central floral cartouche medallion. Examples are in the J. Paul Getty Museum (see Bremer-David, Charissa, French Tapestries and Textiles in the J. Paul Getty Museum, Los Angeles, 1997, p. 131); The Wrightsman Collection (inv. 1983.268) (see Bremer-David, p. 136, fig. 13.6); Sotheby Parke Bernet Monaco, 11-12 February 1979, lot 300; Collection of Mr. and Mrs. Deane Johnson, Sotheby Parke-Bernet New York, 9 December 1972, lot 115; and Estate of Mae C. Rovensky, Parke Bernet Galleries New York, 15-19 January 1957, lot 833.