| Homepage Tapestry Wall Hangings Shopping cart |
About
us Tapestry Articles Our policies |
Site
map Useful links Contact & Feedback |
Chenille throws & Chenille tapestries
Chenille is a wonderfully soft and versatile material and can be used for any number of purposes. These include: chenille tapestries throws, bed covers, upholstery, clothes and, of course, tapestries and wall hangings. Our chenille tapestries throws and tapestries cover a broad range of subjects, including: fine art, scenery and landscapes, heraldry and ornamental art.
The range of chenille wall hangings below span the entire spectrum of art and demonstrate the popularity of this luxurious material as a wall decoration as well as more practical uses.
Data not available (103) ">  Data not available (103) .jpg" alt="chenille tapestries throw" width="150" height="150" border="0" title=" Error: Data not available (103) "> |
Price:
Error: Data not available (103)
|
| Data not available (103) " class="product-list-moredetails" title=" Error: Data not available (103) ">More details |
 |
Price:
$126.00
|
| More details |
 |
Price:
$95.00
|
| More details |
 |
Price:
$98.00
|
| More details |
 |
Price:
$95.00
|
| More details |
 |
Price:
$95.00
|
| More details |
 |
Price:
$179.00
|
| More details |
| Data not available (103) "> Data not available (103) .jpg" alt="Chenille Tapestry" width="150" height="150" border="0" title=" Error: Data not available (103) "> |
Price:
Error: Data not available (103)
|
| Data not available (103) " class="product-list-moredetails" title=" Error: Data not available (103) ">More details |
 |
Price:
$109.00
-
$176.00
|
| More details |
 |
Price:
$172.00
|
| More details |
 |
Price:
$109.00
-
$176.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$99.00
-
$176.00
|
| More details |
 |
Price:
$109.00
|
| More details |
 |
Price:
$199.00
|
| More details |
 |
Price:
$109.00
-
$179.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$109.00
-
$179.00
|
| More details |
 |
Price:
$99.00
-
$176.00
|
| More details |
 |
Price:
$99.00
|
| More details |
 |
Price:
$99.00
|
| More details |
 |
Price:
$176.00
|
| More details |
 |
Price:
$98.00
-
$172.00
|
| More details |
 |
Price:
$199.00
-
$399.00
|
| More details |
 |
Price:
$274.00
-
$399.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$65.00
-
$99.00
|
| More details |
 |
Price:
$184.00
|
| More details |
 |
Price:
$109.00
-
$172.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$1,186.00
|
| More details |
 |
Price:
$126.00
|
| More details |
 |
Price:
$98.00
-
$172.00
|
| More details |
 |
Price:
$98.00
-
$172.00
|
| More details |
 |
Price:
$109.00
-
$179.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$98.00
-
$172.00
|
| More details |
 |
Price:
$205.00
|
| More details |
 |
Price:
$205.00
|
| More details |
 |
Price:
$98.00
-
$174.00
|
| More details |
 |
Price:
$199.00
|
| More details |
 |
Price:
$154.00
|
| More details |
 |
Price:
$154.00
|
| More details |
 |
Price:
$159.00
|
| More details |
 |
Price:
$99.00
|
| More details |
 |
Price:
$98.00
|
| More details |
 |
Price:
$174.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$179.00
|
| More details |
 |
Price:
$174.00
|
| More details |
 |
Price:
$179.00
|
| More details |
18th CENTURY FRENCH TAPESTRIES
The Influence of Rococo
The profound change of taste at the turn of the 17th and 18th centuries produced a renaissance, an anti-traditional and anti-academic reaction throughout Europe. This had such repercussions on tapestry that it caused a complete metamorphosis. ‘Caused’ is perhaps not the correct term, we could say it accelerated a process already under way. For some time tapestry had ceased to be a ‘mainstream art’, with an independent life of its own. There were many reasons for this, both historical and practical. The old ‘mural’ style – in the strictest sense of the word – soon went out of fashion. Decoration of the walls became the main requirement – with wallpaper, carved panelling, leather or other materials.
The celebrative quality in tapestry lasted longer. The 18th century, which was not interested in historical subjects, would have preferred to ignore it entirely and concentrate only on the decorative element, which suited contemporary taste. The woven stuffs had to conform to the stucco, the decoration of walls and ceilings, the picture, the furniture and its covering. They had to be graceful and witty, in accordance with the new rules of society.
When the Gobelins factories reopened they followed these directives. Claude Audran III, who designed the Portieres of the Gods [often coped from 177 onwards] and the grotesques of the Months [1708-1710], applied his decorative skill in a charmingly novel way for the Don Quixote series. The Knight of the Woeful Countenance, ever in trouble over identities and allusions, is depicted, together with his adventures, the latter recounted from the designs of Charles Antoine Coypel in the central panel, surrounded by real or imaginary adversaries. At least six series were designed, with variations to suit different fashions. They were constantly repeated between 1717 and 1794.
Let us examine the second series. The background in imitation damask is framed by borders which give the illusion of a wooden cornice. From this fragile design hand heavy garlands of fruit and flowers, a strange world of monkeys and birds on which flying cherubs look down. Amid tulips and roses, vine tendrils and peaches are pieces of armour and parts of flags, the fond remains of forgotten trophies. In the centre is the ‘story’, looking like a painting in an ornate frame. The narrative is of such little importance that the surround in the Don Quixote series overflows into and encircles the Fragments from Opera, the Scenes from Opera, Tragedy and Comedy [central subjects by C.C. Coypel], as in the Loves of the Gods [central subjects by Boucher; first woven 1458-1762].
The designs of these surround had a very practical purpose. Their fragmentary structure was an admirable setting for the kaleidoscopic decoration which could thus be altered as the ingenuity of the artist displayed itself. In a Europe bewitched by Rococo this suited the artist well. First came the architects, and in their wake the painters, picture-framers, sculptors and decorators. Tapestry had to follow suit.
The much deprecated ‘picturesqueness’ of the 18th century decor had therefore a justification. It was the consequence, not the cause, of the tapestry’s new role.
The Gobelins
The favourite themes and moods of the 18th century continually recur in the Gobelins works. There is exoticism, with all its nuances, from the fabulous [the New Indies by Desportes, first woven 1740-1744] to the picturesque of the Turkish Embassy by Parrocel [1731-1737] [woven to commemorate the entry of the Turkish Ambassador, Mehemet Effendi, into Paris in 1721] and the documentaries of Turkish Scenes by Charles Amédéé van Loo [first woven 1778-1780].
There is the Arcadian ‘drawing-room’ series of Daphnis and Chloe and the mythological gallantry of the Loves of the Gods, as well as the melodramatic extremes of the History of Esther [first woven 1738-1745] and the History of Jason [first woven 1750-1754], both from designs by de Troy.
There is also the celebrative series of the Hunts of Louis XV [1736-1750; Palazzo Pitti, Florence; Château de Compiègne] from designs by Jean Baptiste Oudry, which might be mistaken at first for a sylvan pastoral. The focus is centred on the forests of Compiègne and Fountainebleau, seen as it were in theatrical perspective. The human element is confined to the King and his courtiers whose amiable expressions are characterless, and indistinguishable one from another. The bodies are in keeping with the faces, elegant dummies superbly clad, shimmering in silk and velvet and gold embroidery. A frivolous divertissement? Not entirely, for this represented a world which was both imaginary and real, whose weaknesses as well as aspirations it disarmingly displayed.
To adhere to the picturesque was all that 18th century tapestry could do to escape from the tyranny of exactly reproduced designs. This decision was followed by almost all the workshops, particularly those in France.
Beauvais and Aubusson
The Beauvais school, in which the curious ‘first Chinese tapestry’ had been woven, was in economic difficulties, so Oudry, who had become director of the Manufacture Royale in 1734 [with Nicolas Besnier], was co-opted. Beauvais became, as Voltaire said, ‘le royaume d’Oudry’ who designed many cartoons for it – the Molìere Comedies, the Country Amusements and the Verdures Fines. These last, which are fine examples of the artificial Baroque style, had an immense success, equalled only by that of Boucher’s Beauvais series. The ‘second Chinese tapestry’ is notable for the brilliant decoration of the weave. After the deaths of Besnier and Oudry, Beauvais produced the Russian Games by Le Prince, Country Amusements by Casanova [1772] and the airy Pastorals of Huet. Tapestries from the Beauvais workshops bear the trademark ‘B’ and fleur-de-lys of France.
Many of the series from Beauvais were repeated also at Aubusson {trademarks: MRD, MRDA or MRDB] with a more simplified technique, though still suitable for the Arcadian or pastoral themes. At the Gobelins works, but chiefly at Beauvais and Aubusson, tapestry covers for furniture were also woven in which fantasy and skill were well combined.
Back to top | Products homepage | List all products
Copyright ©2004-2010 The Tapestry House, all rights reserved | Our policies
