View full screen - View 1 of Lot 20. A Royal Louis XIV Savonnerie Carpet  Designed for the Grande Galerie, Palais du Louvre, from the Chaillot Workshop of the Lourdet Family, according to a scheme by Charles Le Brun (1619-1690) and/or Louis Le Vau (1612-1670, Premier Architect du Roi 1654), after a design by François I Francart (1622-1672) and Beaudrin Yvart Le Père (1611-1690), and delivered 10 June 1678.
20

A Royal Louis XIV Savonnerie Carpet Designed for the Grande Galerie, Palais du Louvre, from the Chaillot Workshop of the Lourdet Family, according to a scheme by Charles Le Brun (1619-1690) and/or Louis Le Vau (1612-1670, Premier Architect du Roi 1654), after a design by François I Francart (1622-1672) and Beaudrin Yvart Le Père (1611-1690), and delivered 10 June 1678

A Royal Louis XIV Savonnerie Carpet Designed for the Grande Galerie, Palais du Louvre, from the Chaillot Workshop of the Lourdet Family, according to a scheme by Charles Le Brun (1619-1690) and/or Louis Le Vau (1612-1670, Premier Architect du Roi 1654), after a design by François I Francart (1622-1672) and Beaudrin Yvart Le Père (1611-1690), and delivered 10 June 1678

A Royal Louis XIV Savonnerie Carpet Designed for the Grande Galerie, Palais du Louvre, from the Chaillot Workshop of the Lourdet Family, according to a scheme by Charles Le Brun (1619-1690) and/or Louis Le Vau (1612-1670, Premier Architect du Roi 1654), after a design by François I Francart (1622-1672) and Beaudrin Yvart Le Père (1611-1690), and delivered 10 June 1678

A Royal Louis XIV Savonnerie Carpet

Designed for the Grande Galerie, Palais du Louvre, from the Chaillot Workshop of the Lourdet Family, according to a scheme by Charles Le Brun (1619-1690) and/or Louis Le Vau (1612-1670, Premier Architect du Roi 1654), after a design by François I Francart (1622-1672) and Beaudrin Yvart Le Père (1611-1690), and delivered 10 June 1678


comprised of two symmetrically joined horizontal sections, each with the main field depicting a large frame pattern lobed reserve enclosing monochrome blue and white allegorical bas-reliefs, one depicting Aeolus (honoured by Zeus to become Keeper of the Winds), the other Juno (Goddess and protector of women; and in allegories of the four elements is the personification of Air) with her attribute the peacock (associated with Pride), each bas-relief with a floral swag sweeping from the centre of the inside of the frame and held in the corners of the main field by peacocks perched on exuberant and colourful scrolling rinceaux, the reserves supported by adorsed eagles centred by the motif of the winged helmet of Mercury (Messenger of the gods: Jupiter), the eagles (sacred to Jupiter; also attributed to Pride) flanked on each side by further scrolling rinceaux incorporating a brightly feathered parrot, the wide border of frame pattern design with repeat pattern of yellow oval blind cabochon alternating with two white interlocking foliate motifs against a black ground, with a yellow fleur-de-lys in each corner, with a yellow, cream, salmon and black narrow outer guard stripe with guilloche pattern and a narrow yellow and black inner guard stripe with palmette pattern

height 175⅓in.; width 165 2⁄5 in.; 445 cm; 420 cm.

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Tapis royal de la Savonnerie d'époque Louis XIV conçu pour la Grande Galerie du palais du Louvre, atelier de Chaillot de la famille Lourdet, sous la direction de Charles Le Brun et/ou Louis Le Vau, d'après un dessin de Francart et Yvart, livré le 10 juin 1678


(Réunion des deux extrémités du 50ème tapis commandé pour la Galerie du Bord de L'Eau au Louvre)

height 175⅓in.; width 165 2⁄5 in.; 445 cm; 420 cm.

For further information on the condition of this lot please contact brice.foisil@sothebys.com

Ordered by Louis XIV for the Grande Galerie of the Palais du Louvre, delivered 1678; 

French Royal Collection (Royal Inventory No 191); 

Raymond Bourdillon, 26 July 1797; 

Couturier Nicolay Paris, 19 November 1981, lot 227; 

Sotheby's Monaco, 4 December 1983, lot 122; 

Christie's New York, 21 May 1996, lot 358; 

Sotheby's London, 06 July 2016, lot 9. 

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Commandé par Louis XIV pour la Grande Galerie du Palais du Louvre, livré en 1678;

Collection royale française (Inventaire royal n° 191);

Raymond Bourdillon, 26 juillet 1797;

Couturier Nicolay Paris, 19 novembre 1981, lot 227;

Sotheby's Monaco, 4 décembre 1983, lot 122;

Christie's, New York, 21 mai 1996, lot 358;

Sotheby's Londres, 06 juillet 2016, lot 9.

Jules Baudouin, Iconologie ou Nouvelle explication de plusieurs images, emblems, et autres figures hyerogliphiques des vertues, des vices, des arts, des sciences, des causes naturelles, des humeurs differentes, des passions humains / tire des recherches et des figures de Cesare Ripa, Paris, 1677; translation from the original Italian manuscript, Cesare Ripa, Iconologia, Perugia, 1593;
Charissa Bremer-David, French Tapestries and Textiles in the J. Paul Getty Museum, J.Paul Getty Museum publication, Los Angeles, California, 1997, Savonnerie Manufactory, pp.129-161, No.14.,Carpet for the Galerie du Bord de l’Eau, Palais du Louvre, pp.138-145;
Wolf Buchard, “Savonnerie Reviewed: Charles Le Brun and the ‘Grand Tapis de pied d’ouvrage a la Turque’, woven for the Grande Galerie at the Louvre”, Furniture History, Vol.XLVIII (2012), pp.1-43; for discussion of the series and comprehensive appendix of subsequent carpets and fragments which have emerged since Verlet’s publication in 1982, and p.39, for specific reference to carpet 50 (191), Air themed, with the central section of the Four Winds, and the two matching bas-reliefs (892 by 446cm);
Marie-Noël de Gary, Musée Nissim de Camondo, La demeure d’un collectionneur, Paris, 2007, pp.87, 111 & 299; illustrated with complete overview, and separately in situ within interior of the Grande Salon in the museum in 1935;
Chantal Gastinel-Coural, Les Manufactures de Tapisserie, Colbert 1619-1683, exh.cat. (Hôtel de la Monnaie, Paris, 1983), pp.155-158, for discussion of Le Brun’s influence on the royal manufactories;
Jules Guiffrey, Inventaire Général du Mobilier de la Couronne sous Louis XIV (1663-1715), Paris, 1885-1886 (2 Vols), vol. 1, pp.392-409, p.401, No.191); transcription of Inventaire du Mobilier de la Couronne, compiled in 1697 by Gédéon du Metz, contrôleur general des Meubles de la Couronne; and Jules Guiffrey, Comptes des Bâtiments, vol. 1.;
Madeleine Jarry, The Carpets of the Manufactory de la Savonnerie, Leigh on Sea, 1966, p.30, fig.17;
Albert Pomme de Mirimonde, ‘Le symbolisme musical dans les tapis de la Grande Galerie du Louvre’, Revue du Louvre, 1973-2, pp.95-104, and 1973, pp.161-168, for study of the musical instruments in the designs of Air (on the 50th carpet);
Sarah B. Sherill, Carpets and Rugs of Europe and America, New York, 1995, Chp. 3, France, pp.58-109, Savonnerie of Louis XIV, pp.61-73;
Jean Vittet, 'Contribution à l’histoire de la Manufacture de la Savonnerie au XVIIe siècle: l’atelier de Simon et Philippe Lourdet d’après les minutes notariales', Bulletin de la Société de l’Histoire de l’Art Français (1995), pp. 99-118;
Pierre Verlet, The James A. de Rothschild Collection at Waddesdon Manor: the Savonnerie, 1982, The Catalogue: Section II: Carpets for the Long Gallery of the Louvre, pp.172-213; Appendix A: List of the carpets woven for the Long Gallery of the Louvre, p. 486, Air, 50th carpet (No.191); together with a diagram representing layout of the carpets for the Long Gallery, numbered according to the Royal Inventory (1-93);
Frank John Bagolt Watson, The Wrightsman Collection, The Metropolitan Museum of Art, New York, 1966, Vol.2, Savonnerie Carpet, no. 277, pp.495-499