Alexander Calder
Serpent au Vitral, 1970
Tapestry, made for the artist by Pinton Freres.
200.7 x 138.4 cm
Stamp signed ‘Calder’ in the weave, and stamp initialled ‘PF’, with Pinton Freres label on the reverse and Sandra Calder Davidson.
125027
£ 95,000.00
Tapestry made for the artist by Pinton Freres, Aubusson, France, circa 1970, in an edition of 6 plus 2 artists proofs, stamp signed ‘Calder’ in the weave, and stamp initialled...
Tapestry made for the artist by Pinton Freres, Aubusson, France, circa 1970, in an edition of 6 plus 2 artists proofs, stamp signed ‘Calder’ in the weave, and stamp initialled ‘PF’, with Pinton Freres label on the reverse and Sandra Calder Davidson, 200.7 x 138.4 cm. (79 x 54.5 in.)
The Pinton Freres have been producing tapestries since circa 1887. Their principal commissions have been Graham Sutherland’s ‘Christ in Glory for Coventry Cathedral’, tapestries in the Vatican, the French Embassy in Washington D.C and The Fernand Leger Museum. When working with the studio, Calder prepared his tapestry designs in colour on sheets of paper the size of his large gouaches. These functioned as maquettes, which were mechanically enlarged to the size of the finished tapestry. Calder worked closely with the weavers at Pinton Freres, discussing the design and colours.
By French law the production of each design was limited to an edition of 6, plus 2 artist’s proofs. The tapestries were woven on demand and marked on the reverse 1/6, 2/6 etc. Both Calder’s signature and the weaver’s trademark are woven into the fabric with the number of the edition.
The Pinton Freres have been producing tapestries since circa 1887. Their principal commissions have been Graham Sutherland’s ‘Christ in Glory for Coventry Cathedral’, tapestries in the Vatican, the French Embassy in Washington D.C and The Fernand Leger Museum. When working with the studio, Calder prepared his tapestry designs in colour on sheets of paper the size of his large gouaches. These functioned as maquettes, which were mechanically enlarged to the size of the finished tapestry. Calder worked closely with the weavers at Pinton Freres, discussing the design and colours.
By French law the production of each design was limited to an edition of 6, plus 2 artist’s proofs. The tapestries were woven on demand and marked on the reverse 1/6, 2/6 etc. Both Calder’s signature and the weaver’s trademark are woven into the fabric with the number of the edition.
Provenance
Provenance:Pinton Freres, Aubusson, France;
Private Collection, London;
Crane Kalman Gallery, London;
Corporate Collection, London (purchased from the above in 2012).
