Tapestry woven in the Cauquil-Prince workshop in Paris.
Complete with label, n°1/1.
Calder first made a name for himself as a sculptor and then as a painter, but later in life he discovered an enthusiasm for tapestry (having designed rugs for Marie Cuttoli in the 1950’s), after meeting Pierre Baudouin in 1961. It was Baudouin who originally transcribed the first of this artist’s designs, and oversaw their weaving, first of all at the Picard workshop and then at the Gobelins (« Composition » in 1964-1965), of which he had become the artistic consultant in accordance with Malraux’s desire to see contemporary artists of note collaborate with the Manufactures Nationales. Numerous tapestries of this particular artist would from this point on to the end of his life be woven, most notably at the Pinton workshop. “His compositions in very bright colours of large motifs laid against a plain background are reminiscent of the airiness of his mobiles » (M. Jarry, la tapisserie, art du Xxe siècle, 1974).
A close associate of Marie Cuttoli, Cauquil-Prince turned his hand in the 1960’s to the interpretation in tapestry of several of Calder’s works. This particular example, spectacularly large scale and unique with its typically Calderian motifs (spiral, serpentine, circle,…) is reminiscent of the rug “Mobile”, despite its smaller scale, one of the works signed Cuttoli-Weill designed in the 1950’s (cf Exhibition catalogue Des sculpteurs et la tapisserie, 20 ans d’abstraction, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1995, n°12, ill.)
Cat. Expo. Des sculpteurs et la tapisserie, 20 ans d’abstraction, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1995
Cat. Pierre Baudouin, tapisseries de peintres, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1997
Cat. Expo. Manufactures Nationales de 1960 à nos jours, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 2010