Tapestries Interior Design.

Tapestries Interior Design San Francisco.

First of all we focus on Tapestries Interior Design from the Architecture and Interior Design perspective. Not an Historical or craft professional, however we respect both similarly.

Tapestries Interior Design perspective our point of view. 

A hidden gem for Interior Design. An optional use for a wall to display Art. It is not fashionable, which is good (Style isn’t either YSL), hence you can still buy antique tapestries for a relatively good price.  Hence there are still a few bargains out there as well, furthermore we wish you luck finding one.

I am a modernist, very contemporary, as much as I can be.  Furthermore I am even a minimalist, in both my Architecture and my Interiors. Most noteworthy I do like antiques. I do for many reasons, but certainly so for visual attributes.

Beauty is timeless hence an interior can make a statement by adding a classic, antique, or piece of History to it.

No, you are not trying to make the contemporary design look acceptable or traditional at all. While you are just showing a reference to time, to art and to composition, sometimes so called Eclecticism.

Furthermore I look at it as if a modern Museum is showing antiques, would there be a contradiction of styles there, certainly not. Finally forget attribution or styles, while as a designer  you should just do what you feel like doing.

My background.

I grew up in a family of artists.  While my elder sister of two Pati (Patricia Jacobs Barquet ) an Anthropologist and Historian specializing in Immigration, took tapestry lessons with Saul Borisov in Mexico City.

Consequently as a teenager I could see there was certainly something there. My mother a Decorator and Painter, had hung a couple of  S. Borisov tapestries on the walls, and my sister’s loom in progress sat around.

45 years ago while in an antiques market in Amsterdam I bought a tapestry of a dutch Interior. I was very young almost didn’t know much about Art (though I was studying Architecture), it gave me a visual of how people lived before right there on a canal. Because it was an Interior of a typical home, not a Palace.  So I liked it and I bought it. I was even more passionate about “Contemporary Design” then I guess. I still have my tapestry and love it. Not shown.

Shopping for Tapestries for Interior Design projects in San Francisco.

Recently I have been shopping around for my Interior Design projects in San Francisco. As a result we show below some of the pieces we have come across.  While we have considered or purchased  some for our clients. Finally we don’t know if those shown are still available.

I am not trying to increase their value or speculate, or advertise for them. Above all I am just trying to provide perspective to the designer. So you know what is catalogues and Historical, what is available, similarly what is new in the trade.

In my opinion Tapestries can be an good investment. I don’t think you are going to find the next “Unicorn” at the Paris Flea Market. Nor that anyone is going to sell their masterpieces for nothing. Rather some good value Antique Tapestries, or even more some of the more contemporary ones by recognized artists, might be there for your projects. Keep looking.

For Residential Design display.

Finally of our design selections, when possible budget allowing, hence would be to use the largest possible piece for a room or a wall. Probably to cover it.

Palaces.

In Blenheim and other Palaces, some tapestries bend or turn at a corner and continue on the other wall.

Pleats are an interesting option too. Because a piece might be to long for a wall, as a result by pleating the ends you can make it fit. This happened historically to.

Visually you want to preclude the mixture of styles, you have to let the piece overwhelm the wall. While on the other hand there aren’t that many available walls on most homes for 17′ x 10′ pieces of Art.

Mobilière in French or Mueble in Spanish, the terms are used for furniture, and mean movable. In Palaces, some Furniture was moved around, when a king traveled  say from Versailles to the Loire Valley, he carried his furniture as often the second Castle meant it kept no furniture. I suspect the Tapestry was more like a Movable, easy to roll and bring along and have as a background to all the memory of a battle won, or a religious motive. A Masterpiece painting would not travel as well, while the Tapestry offered warmth as well.


Historical perspective.

Historically tapestries were used in castles to add warmth. Also to cover spare stone walls or even window openings. Probably depicting a battle that might have been won, and for which a castle or palace was granted, such as the case in Blenheim. The Duke of Marlborough’s battles won against Louis XIV. See on our Pinterest board.

The point is they were seen as Art on the wall. There is so much written by experts (which we are not), hence so we will let you read elsewhere. Some of many sources are listed, or linked below, for you to get a full historical perspective. Finally we just give our perspective after a very limited research,  and after learning the value, of what is available with some references.

The Artist themselves did not weave the tapestries. While they designed them and that did not make them less of an Art form. Calder, Leger, Picasso, and many others licensed designs, and commissioned and oversaw the work for tapestries of their Art. Like today, Hirst, Koons, Murakami and Weiwei, they design or create the theme and then have a team execute them.  Because otherwise it would be an impossible task by one person to achieve. That does not make them less of an art form.

Architecture or Interiors as an Art.

Same happens with Architecture or Interiors as an Art. The Architect or Interior Designer designs the building, its components, the method to build it and all details through its completion, however he/she doesn’t break the ground or put up the bricks. Tapestries are the same where Rafael, Rubens, Coecke and other Artists designed and painted and then created a Cartoon.

The production facility might not  necessarily be right there, where the Artist or Castle is,  not even the same country, from France to Brussels or so. Flanders, Aubusson, Brussels, Mortlake, all production centers where the artist was not necessarily based.

History.

“From the Middle Ages until the late eighteenth century, the courts of Europe lavished vast sums of money on tapestries made in silks and wools, after designs by the leading artists of the day. Yet, the art history establishment continues to misrepresent this medium as a decorative art of lesser importance.

Tapestry in the Baroque challenges this notion, demonstrating that tapestry remained among the most prestigious figurative media throughout the seventeenth and early eighteenth centuries. 

In the 17th century important workshops were established at Mortlake on the River Thames, immediately attracting important commissions.

From around 1620, Mortlake produced the greatest tapestries in Europe, including The Story of Vulcan and Venus. Also The Acts of the Apostles, The Elements, The Great Horses, The Hunters’ Chase, and The Story of Dido and Aeneas.

Production was disrupted by the civil war but work was revived with the restoration of the monarchy, when new workshops were established at Lambeth. 

London continued to be an important centre, with celebrated makers such as Thomas Poyntz (active 1677 – 1688), John Vanderbank (d1717), Joshua Morris, and William Bradshaw (d1775). In the 1750’s a short-lived venture was established at Fulham employing French carpet and tapestry weavers and some exquisite works were produced.

The industry declined in the second half of the 18th century.”

From Julia Boston.

Themes were usually Religion, Mythologie, Royal, Hunting, non purely decorative until more recent times. See Mallet.

 

Important Museum Tapestries.

Some of the most important Classic and Historical pieces in the world. 

Some of the best know Tapestries and certainly some of our favorites include the “Unicorn Tapestry series”. The Metropolitan Museum of Art, New York.© Below, one of seven in the series. Gifted  by John D. Rockefeller Jr., 1937, he paid 1,000,000.00 for 5 of the 7 “Unicorn” series. All 7 now at The Metropolitan Museum of Art, New York.

It is interesting to see that Tapestries were often created in series. Such as Rafael -Sistine Chapel, or the Unicorn. If a series can all be put together at a Museum or a Palace great, yet this is very difficult, so don’t feel guilty if you discover and buy one of a series, naturally of lesser importance.

The Unicorn is Found (from the Unicorn Tapestries).

The Metropolitan Museum of Art, N.Y. ©

 

The Artist such as Rafael would do a “Cartoon” to serve as a part of the Tapestry process. The Cartoons of the Rafael Sistine Chapel Series are part of The Royal Collection (UK), but on loan at the great Victoria and Albert Museum in London, UK. (7 of ten surviving, commissioned by Leo X). The Tapestries one shown below are still hung occasionally at the Sistine Chapel, in the Vatican Palace. Rafael was paid 1000 ducats, while producing the tapestries in Brussels cost 15,000.

Raffaello Sanzio – Death of Ananias – WGA18889 – Raphael Cartoons – Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Raphael_Cartoons

Death of Ananias. Raphael Cartoons.
Rafael

Rubens.

Pieter Coecke van Aelst

“This international loan exhibition (Grand Design at the Metropolitan Museum of Art, now closed) explores the achievements of the great northern Renaissance master Pieter Coecke van Aelst (1502–1550). As the impressive body of his surviving drawings makes clear.  While Coecke was a master designer, devising projects across media, from tapestry series, to panel paintings, prints, stained glass, and goldsmith’s work. The exhibition unites nineteen of the grand tapestries he designed, woven in the great workshops of Brussels for collectors from Emperor Charles V, France’s François Ier, and Henry VIII of England, to Cosimo de Medici” http://www.metmuseum.org/exhibitions/listings/2014/grand-design

http://www.metmuseum.org/exhibitions/view?exhibitionId=%7bA7B39F90-1190-416D-A32F-B9F5333CE6A5%7d&oid=239286

The Story of Vertumnus and Pomona: Vertumnus in the Guise of a Fruit picker tapestry

Designer: Designed by Pieter Coecke van Aelst (Netherlandish, Aelst 1502–1550 Brussels)
Artist: Woven under the direction of Anonymous Flemish weavers
Date: designed ca. 1544, woven ca. 1548 – 1575
Culture: Netherlandish, Brussels
Medium: Wool, silk, and precious metal-wrapped threads
Dimensions: Overall: 167 5/16 × 196 7/8 in. (425 × 500 cm)
Classification: Textiles-Tapestries
Credit Line: Calouste Gulbenkian Museum. ©Calouste Gulbenkian Foundation, Lisbon, M.C.G., photo by Manufactures De Wit.

P. Coecke. VertumnusThe Story of Vertumnus and Pomona: Vertumnus in the Guise of a Fruit picker tapestry. Calouste Gulbenkian Museum. ©Calouste Gulbenkian Foundation, Lisbon, M.C.G., photo by Manufactures De Wit.



On the Market.

We are sometimes shopping for Tapestries as we do for other works of Art, or FF&E for our clients.  Among the Tapestries we have discovered recently on the market are the ones below. Please find current dealers list at the bottom, the first three we found on 1stdibs, a great sources for antiques including tapestries. The following two at the San Francisco Fall Antiques Show.

Some pieces in the market could be called Museum quality, however by no means are those pieces shown here comparable to the Top three upper tapestries in the best Museums and collections in the world.

Disclaimer. This should no be construed as a sales or endorsement intended in the following reviews. The texts are those provided by the Antique Dealer on 1stdibs or other sources at the time of our inquire.

There will be more written in the description below, as the Masterpieces above are all so well know, with entire books and publications dedicated to them. We have provided links for them as well.

17th Century French Religious Tapestry, New Testament, Marriage of Mary and Joseph

17th Century French Religious Tapestry, New Testament, Marriage of Mary and Joseph

Mary and Joseph with the High Priest at center and a dove above them. attended by a group of Noblemen and with a mother and child seated in the right foreground.

Enclosed in a border characterized by top and bottom cartouches, supported by Putti A star above and the armorial of Pierre Guischard below. Sis additional cartouches.

Wool and silk inlay.

The Battle of Jerusalem.

17th. Century. Flemish Baroque. A religious and very current theme. We considered this one for one of our Interior Design project in the San Francisco Bay. Colors were perfect for the room.  It was a bit large for the wall, by about 2 feet (16’6″ x 10′). However not a problem, they can be pleated. Not the border, but right after it. They kindly staged the pleating for us to consider it based on that option.

The Battle of Jerusalem. Magnificent 17th century Flemish tapestry hand woven in wool & silk with beautiful details throughout.  ‘Flemish tapestries  at the turn of the 15th and 16th centuries meant primarily Brussels tapestries; the city had become the principal centre for tapestry weaving, with a character and technique quite unlike that in other workshops.

Novel characteristics too were the search for perfection, recognisable in the earliest works attributed, probably rightly, to Brussels, and a bias towards painting. Today the design of a tapestry is often traced to a famous painting as in the many representations of the Baptism of Christ. 

 

Apollo at Vulcan’s forge. (I believe this one has sold)

The tapestry depicts Apollo at Vulcan’s forge, the moment when the god Apollo visits Vulcan and tells him that his wife Venus is having an affair with Mars the god of war.

Apollo is shown wearing a red toga turning towards Vulcan who is not seen but his anvil and tools are depicted to the bottom right hand side of the tapestry. Venus and Mars are seen to the left in an embrace. Apollo’s chariot is shown in the clouds above his head.

Surrounded by a very distinctive architecturally composed border with side caryatid figures with the male satyr head and torso to the left and the female on the right. both supported upon exaggerated corbels with enveloping acanthus leaf, with pendant ribbon held fruit swags and architectural plinth base hoof feet, woven with a blue ground.

 

The top and bottom horizontal borders having a cornice and architrave on a blue ground.

Woven in wools and silks from the series Venus and Vulcan, reduced in size.

An English Mythological Tapestry, Mortlake, London Late 17th/Early 18th.

Celadon Park in Surrey, UK, burned to the shell in April 2015, had an important collection of Mortlake tapestries. They list “Textiles” destroyed, we are not sure what happened to the tapestries or if any survived, nor if they were properly catalogued.There was actually a room called the “Tapestries room”. Sad!

 

The Story of Diane.

The Story of Diane.

After a design attributed to Toussaint Dubreuil (French, 1561-1602), the border design attributed to Laurent Guyot (died after 1644).

Comans- de la Planche manufactory, atelier under supervision of Hans Taye, Faubourg Saint-Marcel, Paris.

Provenance: The Wildenstein collection

This mythological tapestry depicts goddess Diana and her nymphs seated in the foreground, behind them Apollo pointing to a dark shade in the water and Diana taking aim at the figure, set within an open wooded landscape, within rich borders with floral swags and hunters and dogs to the angles.

The top with a blank blue cartouche flanked by youths, the bottom with a cartouche surmounted by a dog’s head and depicting the dead Actaeon before Diana and her attendants. The side borders each with a cartouche with boar’s heads, the blue outer guard border with fleur-de-lys flanked by a P and with monogram HT.

This tapestry is virtually identical, both in the design and size, to one that formed part of the series of The Story of Diana that belonged to cardinal Richelieu and which was recorded in his inventory in 1642. The series was one of the five most expensive items in the inventory of the Palais, with a total of 1364 items listed, including all the silver, jewellery and paintings.

Royalty.

Ultimately the set of tapestries was bequeathed to Louis XIII, and it is then recorded in the Royal inventories in 1663 along with two other sets, both bearing the Royal coat-of-arms. The Richelieu set had a plain blue field in its place as on the example of the Wildenstein collection. Richelieu’s tapestries were recorded in 1789 in the apartments of the duc and duchess de Orleans.

Recently the Richelieu set was identified as being that in the mobilier national by Piero Boccardo (`Decouvertes a propos de l’Histoire de Diane de Toussaint Dubreuil’, La tapisserie au XVIIe siecle et les collections europeennes, Paris, 1999, pp. 53 – 54). This tapestry therefore forms part of a commission that has not yet been identified.

Most recently,

8/2019. My friend Beata Rosiak, form Poland. See below as well. Sent me a beautiful gift. A 2′ x 2′, or 60x60cm. Tapestry of her own weave. A dark background and an off white Torso in front. See below.

  • How to install. A tapestry is meant to hang, not framed. This way it will over time have a natural shape. To hang, backing upholstery or seaming is suggested. Here in Beatas piece we show the  fabric back, and at the top sides the sleeve for the rod. The sleeve does not need to be continuos and can be as required, in a small piece  it makes sense it goes through. Alternatively hock attachments to an upper track are possible. But do let it hang.

Tapestry back

 

  • Our friend in London, Eddy Keshishian shared with us this circa 1735, Brussels Tapestry Camp Life, from the series “The Art of War”.

Rare Brussels mythological tapestry, early 18th century, depicting The Triumph of Flora from the Triumph of the Gods series. Currently exhibited at the Winter Antiques Show from January 21-31 in New York. Keshishian Carpets, London. For additional information on this piece @ http://docdro.id/1RSJo90

 

Recently we discovered the tapestry below at the San Francisco Fall Antiques Show at Mallet Antiques booth.

It is interesting to see that the theme is floral and geometric, not Religious, Military, or Mythological. I’m assuming Aubusson, later, Because of the color too. Beautiful. Dimensions Pending, We will update upon receiving information.

IMG_3538Mallet Antiques. At the San Francisco Fall Antiques Show.

 

Summer. Also recently at the San Francisco Fall Antiques Show. Easier to fit on the wall this one is (10’h x 11’8″ wide).

Rooms and walls are much smaller now days.



TODAY. 20 and 21 Century.

Another point of view. Though the point or perspective above, was on bringing in Antiques, into modern Interior Design, while part of the justification I made, hence was based on that the “Classic Tapestries” shown were and are an Art Form.

XX Century.

Calder, Leger, after Leger (below), Magritte, Picasso, Sonia Delaunay, Vasarely as well as many other artists used the woven media for the wall. To be hung as Art.

After Fernand Léger (French, 1881-1955) – Keno Auctions

Saul Boris, in Mexico City. This small tapestry hung at my parents home until very recently.

From “Una Vida Moderna” http://unavidamoderna.tumblr.com/post/51423736051/tapiz-de-lana-tejida-de-un-tigre-por-saul-borisovS. Borisov

Saul Boris. Wool tapestry woven of a tiger by Saul Borzoi† form the 1960’s. San Angel Mexico City. 

XX and XXI.

Lastly, we include a piece by world renown and living artist El Anatsui, from Volta, West Africa. His work now in many Contemporary Art museums, including the de Young, in San Francisco at the Golden Gate Park (below).

Though not from traditional wool and silk weaves, it is in my opinion an interesting comparison of Art and times.

 El Anatsui. A different type of weave for a different time “, It seems to me like a Tapestry.

“Art grows out of each particular situation, and I believe that artists are better off working with whatever their environment throws up”.– El Anatsui, 2003



Tapestry by Beata RosiakPolish Artist and Tapestry maker Beata Rosiak doing her thing. I don’t know of many young artists in the media, but I certainly think they should be encouraged.

Personal Letter form a Tapestry Artist.

Dear Jerry,

Thank you for presenting this weaver artist Albers design. Looking at this photo is the whole quintessence of weaving. (see link to Annie Albers below)
It’s a beautiful modernist tapestry in the form, wonderfully combined colors.
It is a tapestry woven as I see it on a loom, i.e. it is a workshop (threads interwoven mechanically by the matrix)
Weaving is a heavy piece of bread, a long, tedious job,before you reach your dream product you can see it through the artist’s weaver as if I saw myself at the beginning of the path weaving for other artists.
I had the honor to weave similar forms for the famous in Poland Professor Maddalena Abakanowicz. Working at Shola Posnaniensis ”
Artistic studio we had an order to weave for Mrs. Professor Gobelin flat called Marta”, it was in the 80s.
More of her tapestries are famous abacanes or spatial tapestries (sculptures) it was one tapestry weaved for this artist then I wove the monumental tapestries (Sakrum and profanum) of immense size for Prof. Plewka -Schmydt, former assistant professor A.Bakanowicz.
Maybe I was picked up with this form of the tapestry, I chose an interpretation of known paintings for my own tapestries, maybe as a springboard from coarse coils of wool and sisal.
I will boast a little, see the monumental tapestry that I wore presenting the painting “death dance” is now in the Museum of the Origins of the Polish State in the city of Gniezno.
Greetings,
Beata

LINKS AND SOURCES.

Pinterest link to our Tapestry Board, where you will see many other tapestries both museum and on the market. https://www.pinterest.com/jacobsdzn/tapestries/

Institutions and Museums.

  • de Young Museum, San Francisco
  • The Metropolitan Museum of Art, New York.
  • The New York Times, N.Y.
  • The Royal Collection, UK.
  • The Vatican Museum, Sistine Chapel. The Vatican, Rome.
  • Victoria and Albert Museum in London, UK.
  • Wikipedia.

Artists

  • Anonymus.
  • El Anatsui.
  • Pieter Coecke van Aelst
  • Rafael. Raffaello Sanzio
  • Referenced. Calder, Leger, Magritte, Picasso, Sonia Delaunay, Vassarely
  • Saul Borisov
  • Beata Rosiak

Dealers and Sources in San Francisco and elsewhere.

Publications and Links. 

5 Top Reasons you Should Have a Wall Tapestry in Your Home or Office



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Recent Comments
  • Beata says:

    Thank you Jerry for the possibility of exchanging views on tapestries
    and at the occasion of presenting your art with the help of your Blog.
    Greetings,
    Beata

      • Beata says:

        Jerry,
        Returning to the tapestries of the artist weaving Anni Albers,
        The following reflection came to my mind: every tapestry weavers refer to or are inspired by a given painting.
        Reading the biography of Anni, we know that she created her art in the modern period, she was friendly with the marriage of W.N Kandinsky who had tremendous contributions to painting in this period.
        Looking at tapestries woven by Anni Albers, you can see the influence of painting and the influence of the period in the art in which she created.
        Geometric simple in form, repeatability, balanced colors.
        I do not know if you’ll agree with me?

  • Jerry Jacobs says:

    I’m delighted to learn that too.
    Certainly nice news to see that one of our readers is so perceptive.
    All the best to both Beata and Eliza
    Jerry

  • Eliza says:

    Dear Beata Rosiak, is this a painted picture or a woven tapestry? I saw a similar tapestry in the Malmo Church in Sweden, was it you who wove it? Very nice piece of an artwork !

    • Beata says:

      Eliza,Thank you for this question, I weaved this tapestry ,,Mother of God with the Child”
      of based on Raphael’s image.
      now she is in the permanent exhibition of the Church dedicated Maria i Rosengård to Malmo Sweden.
      I am impressed by your perceptiveness!
      you are amazing!
      I greet you,
      Beata

      • Eliza says:

        So it was really your artwork ! 🙂 I visited your profile on https://www.saatchiart.com/account/profile/295662. You are truly talented person! I liked vivid colurs in your artworks as well as amazing depth cretaed by the shades you used. I can’t find enought poetical words to describe the admirance your tapestry aroused in me… All the best in pursuing your passion and developing art !

        • Beata says:

          Thank you, Eliza, that you saw in my tapestries the perspective of depth, the motto of my paintings is the creation of this Illusion.
          I greet you.
          Beata

      • Jerry Jacobs says:

        I’m delighted to learn that too.
        Certainly nice news to see that one of our readers is so perceptive.
        All the best to both Beata and Eliza
        Jerry

    • Jerry Jacobs says:

      Dear Eliza,
      I’m glad you have an interest in Tapestries. I am Jerry Jacobs, at Jerry Jacobs Design in the San Francisco Bay, and I’m the Blog host and writer and was very pleased to include Beata in it.
      I will send her an email with yours in it so she can reply to you directly, an answer your question which I don’t have an answer for.

      We will also take the liberty of adding you to our email Newsletter so you can learn about tapestries and other Design issues. Please enter info@jerryjacobsdesign.com to your contacts list to make sure you receive our mail.

      Thank you and Happy New Year 2019,
      Jerry

      • Eliza says:

        Dear Jerry, many thanks for creating such a wonderful place to meet and explore art as well as broaden readers horizons ! Thank you for keeping me up to date with the feed from your blog. Happy New Year 2019 to you too !

        • Jerry Jacobs says:

          Dear Eliza,
          It is my pleasure to help the Art and Design communities the little we can. We share the same passions and it’s good to know there are others like us out there, that make daily efforts.

          All the best to you, and keep visiting.

          Thanks,
          Jerry

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