Lot Essay
Carpet production in France almost came to a complete halt during the turmoil of the French Revolution. The revolutionaries felt that woven carpets were luxury items affordable only by the nobility. Existing carpets, especially those commissioned by Louis XIV for the Grande Galerie, were used by the Directoire for themselves, after cutting out any royal emblems, and as repayment of debts incurred by the Revolution. However, Napoleon felt differently. The decree of 28 Florail XII (1803), allowed Napoleon to use the royal palaces once again, thereby creating an atmosphere where carpet workshops could flourish, recapturing the glory of earlier days.
The style of drawing and many of the motifs, such as the tight acanthus scrolls around rosettes and dense floral bouquets of the present carpet, recall the work of Jacques-Louis de la Hamayde de Saint-Ange-Desmaison, known simply as Saint-Ange (1780-1860). Saint-Ange was probably the most influential carpet designer during the late Empire and Restauration period. After studying with the French designers Percier and Fontaine he eventually became the main designer for the Mobilier Imperial designing not only carpets but even porcelain for Sevres. The designs of Saint-Ange, among the era's most popular, were commonly emulated by other designers and manufacturers including Aubusson, Sallandrouze and Beauvais. For further discussion on this subject please see Ernest Dumonthier, Recueil de Dessins de Tapis et de Tapisseries d'Ameublement du Mobilier de la Couronne, Paris, no date.
A similar example is illustrated in E. Floret, Great Carpets of the World, Paris, 1996, p.261, pl.245.
The style of drawing and many of the motifs, such as the tight acanthus scrolls around rosettes and dense floral bouquets of the present carpet, recall the work of Jacques-Louis de la Hamayde de Saint-Ange-Desmaison, known simply as Saint-Ange (1780-1860). Saint-Ange was probably the most influential carpet designer during the late Empire and Restauration period. After studying with the French designers Percier and Fontaine he eventually became the main designer for the Mobilier Imperial designing not only carpets but even porcelain for Sevres. The designs of Saint-Ange, among the era's most popular, were commonly emulated by other designers and manufacturers including Aubusson, Sallandrouze and Beauvais. For further discussion on this subject please see Ernest Dumonthier, Recueil de Dessins de Tapis et de Tapisseries d'Ameublement du Mobilier de la Couronne, Paris, no date.
A similar example is illustrated in E. Floret, Great Carpets of the World, Paris, 1996, p.261, pl.245.