STOR KUDDE Celotocaulis framsidan Josef Frank SVENSKT TENN
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- Avslutades 14 jan 2017
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- STOR KUDDE Celotocaulis framsidan Josef Frank SVENSKT TENN
Frank Stella is one of the leading figures of the Minimalist movement. Initially influenced by the Abstract Expressionism of Jackson Pollock and Franz Kline, towards the late fifties he moves to New York where he abandons the Expressionist quest for colour in favour of flat and minimalist surfaces, following the work of Barnett Newman and Jasper Johns. He soon inaugurated a series of works emphasizing the painting as an object in itself rather than as a representation of something else. Faithful to Minimalist philosophy, the canvas for him is nothing but a flat surface with colour yet suggestive of a third dimension. Towards the early sixties there was a lot of interest in America in adopting textiles as a medium for artistic expression. In 1962 the World House Galleries in New York organized an exhibition composed of twenty-six carpets designed by leading Modern Art Masters such as Léger, Mirò and Picasso together with others from the contemporary designer Miriam Leefe. In 1968 the Charles E. Slatkin Galleries in New York opened an exhibition entitled 'American Tapestries', showing the textile artworks of twenty-two Pop Art and Abstract Expressionist artists. These artists were actively involved in the translation of their pictorial language in the textile medium, designing the preparatory cartoons which would then be sent to India for them to be made into weavings. Their interest towards the expressive qualities of three-dimensional flat surfaces found its quintessential expression in the art of the carpet. This motivated a second exhibition in 1970 entitled 'Modern Master Tapestries', where the term 'tapestry' was applied both to wall hangings as well as floor coverings. The aim of this exhibition was to give a modern configuration to the ancient art of weaving. 'River of Ponds' was one of the exhibits, in a planned edition of 20 examples.
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Native American, Navajo, Vintage Hand Woven Wide Ruins Textile/Rug/Weaving, by Phyllis Niwood, Ca 1978, #10451045. Native American, Navajo, Vintage Hand Woven Wide Ruins Textile/Rug/Weaving, by Phyllis Niwood, Ca 1978, This rug won the 2nd place prize at the Inter-tribal Indian Ceremonial in Gallup NM in 1978. Dimensions: 61" x 37".Condition. Excellent, like new. Provenance: From a Tenn Estate Collection. A Brief Social History of Navajo Weaving and a bit of historical context for a popular contemporary collectibleThere is an ageless beauty to Navajo weaving. Navajo weaving's are many things to people. Above all else, Navajo weaving's are masterworks, regardless of whose criteria of art is used to judge them. They are evocative, timeless portraits which, like all good art, transcend time and space. Navajo weaving has captured the imagination of many not only because they are beautiful, well-woven textiles but also because they so accurately mirror the social and economic history of Navajo people. Succinctly, Navajo women wove their life experiences into the pieces.Navajo people tell us they learned to weave from Spider Woman and that the first loom was of sky and earth cords, with weaving tools of sunlight, lightning, white shell, and crystal. Anthropologists speculate Navajos learned to weave from Pueblo people by 1650. There is little doubt Pueblo weaving was already influenced by the Spanish by the time they shared their weaving skills with Navajo people. Spanish influence includes the substitution of wool for cotton, the introduction of indigo (blue) dye, and simple stripe patterning. Besides the "manta" (a wider-than-long wearing blanket), Navajo weavers also made a tunic-like dress, belts, garters, hair ties, men's shirts, breech cloths, and a "serape-style" wearing blanket. These blankets were longer-than-wide and were patterned in brown, blue and white stripes and terraced lines. For more than a century, the products of Navajo looms were probably identical to those of their Pueblo teachers, but by the end of the 1700's Navajo weaving began its divergence. While Pueblo weavers remained conservative, Navajo weavers learned that wefts did not need to be passed through all the warps each time, but rather, by stopping at whatever point they wished they could create patterning other than horizontal bands. These "pauses" in Navajo weaving are often seen as "lazy-lines" (diagonal lines across the horizontal wefts) in finished pieces. By 1800, weavers were using this technique to create terraced lines and discrete design elements. Navajo weavers also demonstrated more willingness to use color than their Pueblo teachers.Spanish documents describing the Southwest in the early 18th century mention Navajo weaving skills. By the 1700's Navajo weaving was an important trade item to the Pueblos and Plains Indian people. In 1844, Santa Fe Trail traveler Josiah Gregg reported, "a singular species of blanket, known as the Serape Navajo which is of so close and dense a texture that it will frequently hold water almost equal to gum-elastic cloth. It is therefore highly prized for protection against the rains. Some of the finer qualities are often sold among the Mexicans as high as fifty or sixty dollars each."Blankets were traded great distances as evidenced by their appearance in Karl Bodmer's 1833 painting of a Piegan Blackfoot man (Montana) wearing what appears to be a first-phase Chief's blanket or an 1845 sketch of Cheyenne at Bent's Fort (Colorado) wearing striped blankets. Historic photographs illustrate that the desirability of blankets increased with the 19th century. Closer and more frequent trading partners included the Utes, Apaches, Comanches, and Pueblos.The Spanish or Mexicans had never been able to reach a lasting peace with the Navajo. When Mexico ceded the Southwest to the United States in 1848, the "Navajo Problem" was also inherited. With a pronounced resolve, Kit Carson led a "Scorched Earth" campaign in 1863–4, destroying food caches, herds and orchards, ending in 8000 Navajo people surrendering. They were marched hundreds of miles to an arid, barren reservation, Bosque Redondo, at Fort Sumner in eastern NM. For five years the people endured incarceration with shortages of supplies, food, and water. Their culture changed dramatically during this period, not least in weaving. To substitute for their lost flocks, annuities were paid which included cotton string, commercially-manufactured natural- and aniline-dyed yarns as well as manufactured cloth and blankets. These lessened the Navajo people's reliance on their own loom products. In 1867, four thousand Spanish-made blankets were distributed to the Navajos as part of their annuity payment. The combination of widespread availability of yarns and cloth and the influence of the Spanish Saltillo designs were probably a direct inspiration in the dramatic shift in weaving during the Bosque Redondo years, from the stripes and terraced patterns of the Classic period to the serrate or diamond style of the Transitional period. It is testimony to the resiliency of Navajo culture that a period of internment could produce a robust period of change and continuity in weaving.In 1868, the Navajo were allowed to return to their beloved mesas and canyons. In exchange for their return they promised to cease aggression s against neighboring peoples, and to settle and become farmers. Reservation life brought further dramatic changes to Navajo culture, including a growing reliance on American civilization and its products. The sale of weavings in the next thirty years would provide an essential vehicle for economic change from barter to cash. Annuity goods included yarns, wool cards, indigo dye, aniline dyes, and various kinds of factory woven cloth. Skirts and blouses made of manufactured cloth replaced the woven two-piece blanket dress. Manufactured Pendleton blankets displaced hand-woven mantas and shoulder blankets so that by the 1890's, there was relatively little need for loom products in Navajo society.US government-licensed traders began to establish themselves on the new Navajo Reservation. Whatever their motivation, adventure or commerce, the traders became the chief link between the Navajo and the non-Indian world.Trading posts exchanged goods for Navajo products such as piñon nuts, wool, sheep, jewelry, baskets, and rugs. While wool and sheep were important to Navajo people for weaving and meat, they were also important to the economy beyond the Reservation. Wool was in great demand in the industrialized eastern US for coats, upholstery, and other products. Traders bought wool by the pound and sold it to wool brokers in Albuquerque and Las Vegas, New Mexico. The sheep purchased by traders were herded to the nearest rail head and on to the slaughterhouses. The herds grew substantially and it became more profitable for Navajo people to sell wool rather than utilize it in weaving.The railroad reached Gallup, NM in 1882, establishing a tangible connection between the Navajos and the wider market, with the traders acting as middlemen. The completion of the railroad signaled the closing of the American Frontier which, in turn, stimulated a nationwide interest in collecting American Indian art. The railroad made travel to the vast reaches of the west easier and thus opened the area for tourists. The traders recognized these new markets and began to influence weaving by paying better prices for weaving's they thought more attractive to non-Indian buyers. This new market, coupled with the Navajo's decline in use of their hand woven products, infused new life into Navajo textile arts.By the 1880s, trading posts were well established on the Navajo Reservation, and traders encouraged weaving of floor rugs and patterns using more muted colors which they thought would appeal to the non-Indian market. By 1920, many regional styles of Navajo weaving developed around trading posts. These rugs are often known by the area's trading post's name.The history of Navajo weaving continues; over the past century, Navajo weaving has flourished, maintaining its importance as a vital native art to the present day. Virtually all the nineteenth and twentieth-century styles of blankets and rugs are still woven, and new styles continue to appear.________________________________________Thanks to Bruce Bernstein, former director, Museum of Indian Arts and Culture, Museum of New Mexico, Santa Fe, andoriginally appeared in The Collector’s Guide to Santa Fe and Taos - Volume 11-----------------View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:
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Rare, old, Nomad farmer carpet from Afghanistan circa 1920/30Wool on wool with wide Kelim finish, nature and plant colours used for the requirements of hand weaving...No department store or bulk goods... The condition is excellent, the carpet has never laid on the floor, it has only been used as a wall carpet...Dimensions with fringe: 2.56 x 1.32cm, weight: 6010g, rough knot density...Free shipping, insurance and packaging within Europe...
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Brussels, “Cyrus the Great and diversion of the Euphrates” circa 1575 This tapestry represents Cyrus the Great and diversion of the Euphrates river, depicting in the middle of the weaving the king himself with crown and cane accompanied by the suite. In the background one can distinguish the workers diverting the Euphrates. In the interior part of the border there are two cartouches with the following inscription: IVSTICIA RECTA AMITIA ET/ODIO EVAGANT ETPONDERATA/LIBERALIS REGNUM/FIMITER SERVAT History Series: The tapestry forms part of a series representing the story of Cyrus the Great. Two relatively similar series are kept in the Spanish Royal family collection in the Palace of Aranjuez. The first set woven between 1555 and 1559 has the signatures of the weavers Jan van Tieghem and Franc Ghieteels. The series consists of twelve tapestries and numerous sets were executed in the next century by different weavers until the original drawing was slightly modified. Subject Matter: Cyrus (circa 585 – circa 529 B. C.), the Persian king, during the siege of Babylon, dug trenches to divert the Euphrates that ran through the city. When the trenches were ready the king took off his army from the city walls. The citizens of Babylon thought that Cyrus had refused his enterprise. However after the river had gone down Cyrus brought his men back and conquered the city by the channel of the river that had become shallow. Designer: This tapestry belongs to the cycle representing the story of Cyrus the Great that was designed by the “Flemish Raphael” Michael van Coxcie (died in 1592). Coxcie studied under Bernard van Orley (died in 1541) and lived in Italy presumably from 1530 up to 1539. After a short stay in Mechelen he settled down in Brussels and soon became the official tapestry designer for Brussels tapestry manufactures. Later he became the court painter to Мaria Theresa, Queen of Hungary, Margaret, Duchess of Parma and Philip. Unfortunately there is no paper confirming Coxcie’s authorship of the design of the existing cycles of tapestries. Nevertheless stylistic comparison of the works from other sources allows us to attribute to Coxcie numerous tapestry sets of great importance confirming as well his important status in the domain of design of Flemish tapestries in the mid 16th century. Similar Tapestries: The other unique weaving on this subject was made by Tieghem in the 16th century for the count of Hessen-Kassel in 1570-1573 (now lost). However the borders of a very familiar design can be found in the illustrated History of Jacob, that was signed by Tieghem (L. Von Wilckens, Drei unbekannte Jacobsteppiche aus der Manufactur des Jan van Tiegen, Miscellanea Josef Duverger, Gent, 1968, vol.11, pp 779-786). The set of four tapestries based on the design by Jan van Tieghem, that was in the possession of Lord Wantage, Locking House, and later was inherited by the countess de Clanwilliam was sold at Christie’s on November 8 1979 under lot #150 (the subject was a tapestry n150a) in London. Another series of four tapestries is found in the collection Marquis de Bath in the Longleat House in Warminster. A tapestry with the similar borders depicting Cyrus meeting Artemis probably taken from the same series from the collection of Count de Poulett at Hinton House in the Somerset was sold at Sotheby’s on November 1 1968 in London, lot #2. Circa 1575 Design by Michel Coxcie Size: 410 x 310 cm Composition: wool and silk Condition: excellent Bibliography: (T. Campbell, Tapestry in the Renaissance, Art and Magnificence, New York, 2002, pp 394 –401; K. Brosens, European Tapestries in the Art Institute of Chicago, Chicago, 2008, pp 166 –171). K. Brosens, European Tapestries in the Art Institute of Chicago, 2008, p. 166-171. Cyrus le détournement de l’Euphrate, vers 1575 La tapisserie fait partie d’une série représentant L’Histoire de Cyrus le Grand. Deux séries relativement proches se trouvent dans la collection de la famille royale espagnole au Palais de Aranjuex. La première paire, probablement l’editio pricep tissée entre 1555 et 1559, porte les signatures des lissiers Jan van Tieghem et Frans Ghieteels. La série comprenait douze panneaux et plusieurs suites ont été produites au siècle suivant par différents lissiers jusqu’à ce dessin légèrement modifié. Michel Coxcie : Cette tapisserie appartient à la série représentant L’Histoire de Cyrus le Grand, qui a été dessiné par le « Raphael Flamand » Michel Coxcie (mort en 1592). Coxcie était un élève de Bernard van Orley (mort en 1541) et vécut en Italie probablement de 1530 à 1539. Après un court séjour à Mechelen, il s’installa à Bruxelles et devint le dessinateur official des tapisseries de la ville de Bruxelles. Par la suite, il fut aussi le peintre de cour de Marie de Hongrie, Marguerite de Parme et de Philippe II. Malheureusement, il n’y a pas de document, démontrant un lien entre Coxcie et une série de tapisserie existante. Cependant, la comparaison stylistique de travaux sur d’autre medias nous permet l’attribution à Coxcie de plusieurs séries de grande importance, confirmant ainsi son statu dans le dessin de tapisserie flamande de la moitié du XVIème siècle. L’unique autre tissage de ce sujet par Tieghem du XVIème, outré la série espagnole, était pour le Comte de Hessen-Kassel en 1570-1573 (aujourd’hui perdu). Cependant, des bordures d’un dessin très proche se retrouvent sur une série illustrant L’Histoire de Jacob qui est signé par Tieghem (L.von Wilckens, Drei unbekannte Jakobsteppiche aus der Manufaktur des Jan van Tiegen, Miscellanea Jozef Duverger, Gent, 1968, vol. II, pp. 779-786). Une suite de quatre tapisseries de ce dessin par Jan van Tieghem de la propriété de Lord Wantage, Locking House, et par descendance à la comtesse de Clanwilliam, a été vendue à Londres par Christie’s le 8 novembre 1979, sous le lot 150 ( ce sujet étant le panneau n150a). Une autre série de quatre se trouve dans la collection du Marquis de Bath à Longleat House dans le Warminster. Une tapisserie avec des bordures similaires présentant Cyrus rencontrant Artémis, probablement tirée de la même série issue de la collection du comte de Poulett, à Hinton House dans le Somerset, été vendue par Sotheby’s à Londres le 1 novembre 1968, lot 2. Le détournement de l’Euphrate : Cyrus (circa 585- circa529 B.C.), considéré comme le père des Perses, assiégeant Babylone, creusa des fossés pour détourner le cours de l’Euphrate qui traversait la ville. Lorsque cela fut achevé, il emmena son armée assez loin de la ville. Les babyloniens crurent que Cyrus avait renoncé à son entreprise et baissèrent leurs attentions. Mais Cyrus ayant détourné le cours du fleuve, ramena ses troupes et les fit rentrer dans la ville par l’ancien cours du fleuve demeuré à sec. Ainsi il se rendit maître de Babylone La tapisserie représente Cyrus et le détournement de l’Euphrate montrant le roi au centre avec sa couronne et sa canne entouré de suivants. Au second plan nous distinguons les laboureurs détournant l’Euphrate. la bordure porte deux cartouches dans sa partie inférieur où est inscrit : IVSTICIA RECTA AMITIA ET / ODIO EVAGNAT ETPONDERATA / LIBERALIS REGNUM / FIMITER SERVAT Titre : Cyrus détournant l’Euphrate Date : vers 1575 Dimensions : 410 x 310 cm Chainage : 8 chaines au centimètre Etat : excellent état Composition : Laine et soie. Provenance : Collection Privée Remarque : Tapisserie exceptionnelle pour son état et sa qualité. Pièce de collection.
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