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Lot Essay
This magnificent carpet continues the tradition of carpet-weaving at the Savonnerie begun by Louis XIV. When the Sun King ascended the throne in 1661, he and chief minister Colbert undertook a spectacular refurbishment of the Louvre Palace, thereby unequivocally proclaiming to the world the glory of France and the King. Their redecoration schemes included the creation of a series of carpets of a scale and splendor unprecedented in French carpet-weaving to adorn the Galerie d'Apollon and the Galerie du Bord de l'eau or Grande Galerie.
His great-great-grandson Louis XVI (reigned 1774-1792) commissioned carpets using designs from the reign of Louis XV and by painters working in a new style. The designer of this carpet is unknown but the treatment of the flowers and the design is very similar to those of M.B. Bellangé, an official designer of Savonnerie carpets during Louis XVI's reign. Only one surviving carpet can be definitively attributed to Bellangé and is now in the Louvre Museum (see P. Verlet, The James A. de Rothschild Collection at Waddesdon Manor, Savonnerie, Fribourg, 1982, p. 118, fig. 73.). The naturalistic and delicate drawing of the floral garlands of the Bellangé carpet is executed in a similar manner as the garlands on the present lot. In addition, the wave-like border on our example is more inspired by ancient ornament, motifs he consistently employed in his designs.
Originally a flower painter, Bellangé worked in a style inspired by Marie-Antoinette's predilection for delicate designs with subtle references to classical elements. Bellengé is considered to be one of the most original and creative among all the Savonnerie carpet designers.
This pattern was woven twice in the 18th century, suggesting royal approval. Repeating the design of a well-received carpet was a common custom as it defrayed the initial cost of making the cartoon. Louis XVIII lent this carpet to his cousin Louise-Adélaïde de Bourbon-Condé (1757-1824) in December 1817 to furnish the Palais du Temple, formerly the home of the Comte d'Artois. Having fled Paris in 1789, Louise-Adélaïde returned in 1814 and founded the Monastery of the Bénédictines de Saint-Louis du Temple. This gift to the monastery was later ratified in 1841 by Louis-Philippe. After the Temple was demolished, the carpet was sent to the old Hôtel de Montesquiou and then Vauhallan Abbey, where it was kept in pristine condition until 1955.
The other surviving example, from Louis XVI's bedroom at Versailles, is now in the Louvre (please see E. Floret, Great Carpets of the World, Paris, 1996, p.252, plate 235). It has a similar central wreath composed of floral garlands, appearing to be from the same cartoon as this lot. However, it differs by lacking the simple strewn flowers in the corners and having a more Louis XIV-inspired border of ribbon-tied reeds.
The present carpet recalls the tradition of previous reigns but also proudly announces the new neo-classical style.
His great-great-grandson Louis XVI (reigned 1774-1792) commissioned carpets using designs from the reign of Louis XV and by painters working in a new style. The designer of this carpet is unknown but the treatment of the flowers and the design is very similar to those of M.B. Bellangé, an official designer of Savonnerie carpets during Louis XVI's reign. Only one surviving carpet can be definitively attributed to Bellangé and is now in the Louvre Museum (see P. Verlet, The James A. de Rothschild Collection at Waddesdon Manor, Savonnerie, Fribourg, 1982, p. 118, fig. 73.). The naturalistic and delicate drawing of the floral garlands of the Bellangé carpet is executed in a similar manner as the garlands on the present lot. In addition, the wave-like border on our example is more inspired by ancient ornament, motifs he consistently employed in his designs.
Originally a flower painter, Bellangé worked in a style inspired by Marie-Antoinette's predilection for delicate designs with subtle references to classical elements. Bellengé is considered to be one of the most original and creative among all the Savonnerie carpet designers.
This pattern was woven twice in the 18th century, suggesting royal approval. Repeating the design of a well-received carpet was a common custom as it defrayed the initial cost of making the cartoon. Louis XVIII lent this carpet to his cousin Louise-Adélaïde de Bourbon-Condé (1757-1824) in December 1817 to furnish the Palais du Temple, formerly the home of the Comte d'Artois. Having fled Paris in 1789, Louise-Adélaïde returned in 1814 and founded the Monastery of the Bénédictines de Saint-Louis du Temple. This gift to the monastery was later ratified in 1841 by Louis-Philippe. After the Temple was demolished, the carpet was sent to the old Hôtel de Montesquiou and then Vauhallan Abbey, where it was kept in pristine condition until 1955.
The other surviving example, from Louis XVI's bedroom at Versailles, is now in the Louvre (please see E. Floret, Great Carpets of the World, Paris, 1996, p.252, plate 235). It has a similar central wreath composed of floral garlands, appearing to be from the same cartoon as this lot. However, it differs by lacking the simple strewn flowers in the corners and having a more Louis XIV-inspired border of ribbon-tied reeds.
The present carpet recalls the tradition of previous reigns but also proudly announces the new neo-classical style.