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Louis le Brocquy
ADAM AND EVE
Lot 24
Price Realised:
€130,000
Estimate:
€60,000 - €90,000
Louis le Brocquy HRHA, 1916-2012
ADAM AND EVE IN THE GARDEN, 1950-1952
Colour-inverted Aubusson tapestry, Atelier Rene Duche; (from an edition of 9), 55 by 108in., 139.7 by 274.32cm, signed and dated ['52] lower left; signed with initials by maîtr... Read more
Lot 24
Louis le Brocquy
ADAM AND EVE
DVTV Click Here To View VideoADAM AND EVE IN THE GARDEN, 1950-1952
Colour-inverted Aubusson tapestry, Atelier Rene Duche; (from an edition of 9), 55 by 108in., 139.7 by 274.32cm, signed and dated ['52] lower left; signed with initials by maîtr... Read more
Lot 24
Louis le Brocquy
ADAM AND EVE
Estimate:
€60,000 - €90,000
Louis le Brocquy HRHA, 1916-2012
ADAM AND EVE IN THE GARDEN, 1950-1952
Colour-inverted Aubusson tapestry, Atelier Rene Duche; (from an edition of 9), 55 by 108in., 139.7 by 274.32cm, signed and dated ['52] lower left; signed with initials by maître-lissier, Rene Duche and numbered in the weave on reverse lower right; with Certificate of Authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duche.
The genesis of le Brocquy's colour-inverted tapestries pivots on his meeting with designer Jean Lurçat in the summer of 1952 in London where le Brocquy had established his Battersea studio. The innovations in the weaving industry coupled with his own earlier interest in the emotional effect of colour led him to explore the medium through the adaptation of early small-scale flat (gouache) cartoons. Between 1948 and 1952 these were translated into woven images facilitated by Tabard Frères et Soeurs, Aubusson, included Travellers, Garlanded Goat and the Eden series.
Dorothy Walker, in her book on the artist, writes 'He treated the theme with archetypal imagery in a classical, even traditional manner, the sun and the moon appearing respectively in the male and female spheres. The Tree of Knowledge of Good and Evil appears as in traditional French medieval tapestry with birds and butterflies among its leaves, but he adds a surrealist aspect with eyes as well as leaves (as befits a tree of knowledge) and fish swimming in its branches.'
In the artist's notes in the catalogue for 'Louis le Brocquy, Aubusson Tapestries', 3-29 May 2001 with Agnew's, he describes the process thus:
"These tapestries were designed by means of a technique I learned directly from the master in this medium, Jean Lurçat. No colour sketch is involved. Instead, a purely linear cartoon defines areas within which a range of coloured wools are indicated by numbers. But, further to these first cartoons, my excitement regarding the drama of colour-inversion encouraged me to make at the time second versions of these linear cartoons, inverted both in colour and tone."
It would be fifty years before the artist could realise these second, colour-inverted, versions. The present tapestry was woven at Aubusson in 1999 by celebrated Lissier Rene Duche, in collaboration with the artist's son, Pierre. They have been described as linking "… the refined simplicity of medieval weaving with the mastery of Cubist drawings" and by le Brocquy, as an "… inverted transformation of mood, 'as contrary as night from day'".
(Ref: Dorothy Walker 'Louis le Brocquy; 'Louis le Brocquy, Aubusson Tapestries', Agnew's, London, 3-29 May 2001)
ADAM AND EVE IN THE GARDEN, 1950-1952
Colour-inverted Aubusson tapestry, Atelier Rene Duche; (from an edition of 9), 55 by 108in., 139.7 by 274.32cm, signed and dated ['52] lower left; signed with initials by maître-lissier, Rene Duche and numbered in the weave on reverse lower right; with Certificate of Authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duche.
The genesis of le Brocquy's colour-inverted tapestries pivots on his meeting with designer Jean Lurçat in the summer of 1952 in London where le Brocquy had established his Battersea studio. The innovations in the weaving industry coupled with his own earlier interest in the emotional effect of colour led him to explore the medium through the adaptation of early small-scale flat (gouache) cartoons. Between 1948 and 1952 these were translated into woven images facilitated by Tabard Frères et Soeurs, Aubusson, included Travellers, Garlanded Goat and the Eden series.
Dorothy Walker, in her book on the artist, writes 'He treated the theme with archetypal imagery in a classical, even traditional manner, the sun and the moon appearing respectively in the male and female spheres. The Tree of Knowledge of Good and Evil appears as in traditional French medieval tapestry with birds and butterflies among its leaves, but he adds a surrealist aspect with eyes as well as leaves (as befits a tree of knowledge) and fish swimming in its branches.'
In the artist's notes in the catalogue for 'Louis le Brocquy, Aubusson Tapestries', 3-29 May 2001 with Agnew's, he describes the process thus:
"These tapestries were designed by means of a technique I learned directly from the master in this medium, Jean Lurçat. No colour sketch is involved. Instead, a purely linear cartoon defines areas within which a range of coloured wools are indicated by numbers. But, further to these first cartoons, my excitement regarding the drama of colour-inversion encouraged me to make at the time second versions of these linear cartoons, inverted both in colour and tone."
It would be fifty years before the artist could realise these second, colour-inverted, versions. The present tapestry was woven at Aubusson in 1999 by celebrated Lissier Rene Duche, in collaboration with the artist's son, Pierre. They have been described as linking "… the refined simplicity of medieval weaving with the mastery of Cubist drawings" and by le Brocquy, as an "… inverted transformation of mood, 'as contrary as night from day'".
(Ref: Dorothy Walker 'Louis le Brocquy; 'Louis le Brocquy, Aubusson Tapestries', Agnew's, London, 3-29 May 2001)
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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