Identifier: decorativetextil1918hunt (find matches)
Title: Decorative textiles; an illustrated book on coverings for furniture, walls and floors, including damasks, brocades and velvets, tapestries, laces, embroideries, chintzes, cretonnes, drapery and furniture trimmings, wall papers, carpets and rugs, tooled and illuminated leathers
Year: 1918 (1910s)
Authors: Hunter, George Leland, 1867-1927
Subjects: Embroidery Tapestry Textile fabrics Lace and lace making Wallpaper Decoration and ornament
Publisher: Philadelphia and London, J. B. Lippincott company Grand Rapids, The Dean-Hicks company
Contributing Library: Sterling and Francine Clark Art Institute Library
Digitizing Sponsor: Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners

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try manu-facturer from Aubusson, who was able to increase the number ofworkmen from 50 to 120. Amongst sets originated under him were:Pastorale with blue draperies and arabesques (Plate VII), in tenpieces, after J. B. Huet; Military Scenes, in six pieces, after Casa-nova; Sciences and Arts, after Lagrenee. The D. M. Beauvais,on the small tapestry Commerce, in the Decorative Arts Wing ofthe Metropolitan Museum, is the signature of De Menou. During the French Revolution, the Beauvais works was takenover by the French Government, for which it now produces tapestryfurniture coverings on low-warp looms, whilst the Gobelins now con-fines itself to wall tapestries on high-warp looms. The City of Beauvaisis 55 miles north of Paris, and in times of peace visitors are welcomeat the works every week day from 12 to 4. The Museum is interesting. THE MORTLAKE TAPESTRY WORKS The success of France in attracting low-warp weavers fromFlanders to the Gobelins, stirred England to imitation. A copy of 301
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•si en a o po a irSl i—* < p <h w» a Q j < ao enO z I—I oo o CO s GOBELINS, BEAUVAIS, MORTLAKE TAPESTRIES the royal edict of Henri IV was secured, and in August, 1619, SirFrancis Crane, the proprietor of the new industry, was granted thefees for the making of three baronets. The importation of Flemishweavers was secretly arranged for, and in 1620 fifty had alreadyarrived. The manager of the works was Philip de Maecht, who hadpreviously been manager of a shop at the Gobelins for Comans andPlanche. His monogram appears in the selvage of Early Gobelin aswell as of Mortlake tapestries. The art director was Francis Cleyn,who had been a student in Italy in the service of Christian IV ofDenmark, and whose work was so much appreciated that after theaccession of Charles I in 1625 to the throne of England, he wasgranted a life pension of 100 pounds a year. The first important set of tapestries woven at Mortlake, begunon September 16, 1620, and finished on June 5, 1622, was the S

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