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A photographic image was made of he design with figures, to which Morris or Dearle added a floral background, and a border equally filled with designs of trees and flowers. The full scale image was transferred onto cloth by rubbing with a piece of ivory, and then woven on a loom.
Felletin is identified as the source of the Aubusson tapestries in the inventory of Charlotte of Albret, Duchess of Valentinois and widow of Cesare Borgia (1514). [4] The workshops were given a royal charter in 1665, but came into their own in the later 18th century, with designs by François Boucher, Jean-Baptiste Oudry and Jean-Baptiste Huet, many of pastoral rococo subjects. [5]
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Muriel Nezhnie Helfman (February 28, 1934 – April 9, 2002), known professionally as Nezhnie, was an American artist, primarily weaving large tapestries throughout 1956–1992. She gained international attention in the late 1980s with a series of six tapestries, Images of the Holocaust, completed between 1979 and 1989. They were first ...
Apart from the design and materials, the quality of tapestries varies with the tightness of the weaving. One modern measure of this is the number of warp threads per centimetre. It is estimated that a single weaver could produce a square yard of medium quality tapestry in a month, but only half that of the finest quality. [17]
The tapestries obtained were usually framed or embedded in the walls, although, as Tomlinson (1993) indicates, many times this task was not carried out and they were simply hung. The loom is the most precise instrument for weaving a tapestry and its base is the warp.
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