HS_Projets invites you to discover and acquire these extra ordinary textiles !
N° : XA-HS-10
Origine : United-States
Conception : Larsen Design Studio
Production : Jack Lenor Larsen Incorporated
Date : 1966
Dimensions : 620cm x 140cm
Technique : batik dyeing
Material : cotton
State : very good condition
Price : 9 000 euros
If you are interested in this textile, please contact HS_Projets team (fite@hs-projets.com). You can see Pudonneet Rukiinjyvät textile at Showroom Galerie 7, 69002 Lyon.
Jack Lenor Larsen is a american textile designer, writer, collector and advocate of the traditional and contemporay craft. During his whole career, he has distinguish himself in creating textile and fabric patterns for modern architecture and fourniture. Some of his artworks are displayed in famous museums permanent collections, such as the Museum of Modern Art of New York, the Victoria and Albert Museum of London, the Art Institute of Chicago, the Louvre Decorative Art Museum and the Minneapolis Institute of Art, which own most of his archives.
He founded his own company in 1952 in New York and from 1954 had his own showroom. The company's reputation grew from the 1970s onwards, with major commissions and exhibitions, notably at the Museum of Fine Arts in Boston in 1972 and the Pavillon du Louvre in 1981. During the 1980s, Jack Lenor Larsen saw its sales increase considerably until the economic crash of 1987, when it began to grow again from the following decade. In 1997, the company was sold to a London group, before being taken over by the American subsidiary Cowtan & Tout, while remaining closely linked to its creator until his death in 2020. The company quickly became prosperous, thanks in particular to the innovation of its prints - velvets in particular - by the Larsen Design Studio, which made their mark from the 1960s onwards, and the use of traditional reserve dyeing techniques.
Conquistador fits into this chronology of spectacular velvets that have made the company famous. Considered one of the company's most iconic fabrics, it is a batik printed and dyed cotton velvet with a baroque pattern, which went into production in 1966. The combination of traditional weaving and dyeing techniques with strong visual motifs ensured its success. Jack Lenor Larsen was fascinated by reserve dyeing techniques, to which he dedicated the book ‘Dyer's Art: Ikat, Batik, Plangi’ in 1977. He worked with Winn Anderson, president of the Larsen Design Studio, to reproduce the effects of batik mechanically. Conquistador's designs were coated with a mixture of wax (beeswax and paraffin), then with a first coat of dye, and finally dyed a second time when the wax was removed. The colours available were ‘Wild Honey’, ‘Tortoise’, ‘Crimson’ and ‘Bronzed Amethyst’, to which ‘Topaz’, ‘Blue Blood’ and ‘Pigeon Blood’ were later added. In 1985, the company ceased production of batik and this type of fabric. Conquistador was presented as part of the collection of Jack Lenor Larsen Incorporated in 1967 and conjures up Andean art and the technique of resist dyeing. Larsen later wrote, in a note preserved in the company's archives, that: ''Conquistador is my idea of how an Inca might treat a baroque motif. That is, flat and without the robust movement typical of Europe. More like the stone walls of Peru''
Conquistador can be found in various American collections
Victoria & Albert Museum
Conquistador, Jack Lenor Larsen – Larsen Design Studio – Larsen Incoportated, 1966, United States,cotton, dimensions 287,02 x 121,92cm., Jack Lenor Larsen donation, CIRC.87-1970.
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Art Institute of Chicago
Conquistador, Jack Lenor Larsen – Larsen Design Studio – Larsen Incorporated, United-States, 1966, cotton, 286,6cm x 142,3 cm, Cowtant and Tout donation, 1984.1537.
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Minneapolis Institute of Art
Conquistador, Jack Lenor Larsen – Larsen Design Studio – Larsen Incorporated, United-States, 1967, cotton, 91,44cm x 66cm, Jack Lenor Larsen donation, 85.55.2.
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Minneapolis Institute of Art
Conquistador, Jack Lenor Larsen – Larsen Design Studio – Larsen Incorporated, United-States, 1967, cotton, 224,8cm x 142,2cm, Jack Lenor Larsen donation, 86.38.5.
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Minneapolis Institute of Art
Conquistador, Jack Lenor Larsen – Larsen Design Studio – Larsen Incorporated, United-States, 1966-1966-1985, cotton, 139,7cm x 134,62cm, Cowtant and Tout donation, 99.1.188.2.
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Cowtan and Tout Larsen Archive Collection
Conquistador; Jack Lenor Larsen – Larsen Design Studio – Larsen Incoportated, United-States, 1966, cotton, 284,5cm x 139,7 cm, Longhouse Reserve donation.
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Origine : Finland
Conception : Leena-Kaisa Halme, designer
Production : Helmi Vuorelma Oy, editor
Date : 1964 (date uncertain)
Dimensions : 118cm x 57cm
Technique : Handmade tapestry
Material : wool
State : Good condition
Price : 900 euros
If you are interested in this textile, please contact HS_Projets team (fite@hs-projets.com). You can see Pudonneet Rukiinjyvät textile at Showroom Galerie 7, 69002 Lyon.
Leena-Kaisa Halme was born around 1940 in Helsinski and is recognised as a major Finnish tapestry artist. From the age of 19, she taught courses on the Rya: a hand-woven, long-haired woollen rug in which the pattern appears identical on both sides.
Leena-Kaisa Halme, a prodigy from Helsinki who has been teaching rya since the age of 19, has demonstrated her expertise and familiarity with the medium through her choice of abstract motifs and shimmering, jewel-like colours. Rya Tapestries is a misnomer if you define each word precisely. A rya is traditionally a one-of-a-kind shaggy woollen rug, woven by the artist who created the design and chose the colours. A tapestry is woven by hand using a traditional tapestry stitch and the design appears identical on both sides.
Alongside Jean Cocteau and Tadek Beutlich, she was involved in the Mediterranean Industries project, a company set up by a group of British investors with the ambition of commissioning original carpets from exceptional European artists. ‘The British colony of Malta is preparing for independence in 1964, and is desperately looking for a new industry to bring much-needed capital and jobs to the island,’ explains Lorentzen.
Maltese society wants to develop a new industry on the island, with a view to its future independence. Artists travel to Malta to train local weavers. ‘With a tradition of home weaving already established among the women of Malta, a cottage industry, such as carpet weaving, seemed a natural start.’ Mr Lorentzen. Production is limited to 50 pieces, some of which are exported. This residency gave rise to the exhibition ‘The School of Malta’ at Malta House in London in 1963.
French writer and painter Jean Cocteau, on the other hand, showed his lack of familiarity with the rug by creating motifs that are slightly distorted rather than enhanced by the depth of the pile. His colours, which vibrate in combinations of turquoise, green and yellow, contrast sharply with the more subtle tonal counterpoints of the artists described as Rya.
Helmi Vuorelma, Helmi Vuorelma, textile artist, was born in 1886 in Russia and died in 1948 in Lathi, Finland. A graduate of the Wetterhoff School of Crafts, she started her company Takana Tapestry in Lathi in 1909. During the 1930s, the weaving company employed up to 300 people, many of them mothers working from home. It produced national costumes in the 1910s. After the war and until the early 1950s, production was limited by a lack of raw materials. After the death of Helmi Vuorelma in 1948, the company switched from producing individual items to commercial production. Some models were also sourced from outside designers.
In 2010 Helmi Vuorelma Oy moved to the Jarvelka weaving mill in Karkoi. In 2014, the company filed for bankruptcy. Kari Kuronen takes over the production of national costumes and ryiyas (Finnish woollen rugs).
Mediterranean Industries (a British company) and Tadek Beutlich (1922/2011) (a skilled rya artist) have joined forces on the island of Malta to produce ‘Rya Tapestries’. Distributed by Unika Vaev, a Danish carpet and fabric company, the results can be found on the third floor of Georg Jensen.
This piece appears later in Leena-Kaisa Halme's practice, and the stylistic change is significant: the weave is looser, the motifs more defined and only two colours are used, whereas at the beginning of her career she produced tapestries with predominantly light and ochre tones. Takana is a fabric whose two sides are bound together at the edges. This double fabric retains the same motifs, but the colours are reversed on the two sides. The motif represents cut rye, a cereal that can withstand the short summer in this Nordic country.
The artist's rugs are often titled like paintings, with names that suggest the compositional mood of each unique work. This one is called ‘Kaski’, a motif of rye cut from a landscape cleared by slash-and-burn methods.
Some of these works have been acquired by the Finnish State Art Commission (Valtion taideteostoimikunta). It is also part of Tuomas Sopanen's private collection, the fourth largest Finnish collection of ryijy.
Bibliography :
Lassaigne, Jacques, ‘Tapisseries finlandaises’, Exhibition organised by the Musée d'art de la Ville de Paris, 24 November 1972 to 7 January 1973, Les Presses artistiques.