Prékopa Ágnes (szerk.): Ars Decorativa 31. (Budapest, 2017)
Zsuzsa MARGITTAL: La Fontaine’s Fables and Other Animal Tales in the Budapest Museum of Applied Arts’ Collection
NOTES 1 An example of a similar thematic selection and exhibition from the collection of Calouste Gulbenkian: Fidalgo, Manuela: Au temps oü les animaux parlaient. Les fables de La Fontaine dans la Collection Calouste Gulbenkian. Lisbonne, 1994. 2 ‘Tout le meuble, en tapisserie au petit point, n’était que Villustration des Fables de La Fontaine; et Jeanne eut un tressaillement de plaisir en retrouvant une chaise qu’elle avait aimée, étant tout enfant, et qui représentait Vhistoire du Renard et de la Cigogne. ’—Maupassant, Guy de: Une vie. Paris, 1883. Retrieved 2 September 2016 from http://bibliotheq.net/guy-de-maupassant/une-vie/ page-5.html. The English translation retrieved 2 September 2016 from: https://ebooks.adelaide.edu. au/m/maup assant/guy/ une-vie/ ch apteri. htmL 3 Here the titles are cited as in Bernstein, David J.: The Mystery of the Bayeux Tapestry. London, 1896 (hereinafter Bernstein 1896). These two tales were later retold by La Fontaine; the English titles of La Fontaine’s fables in this study are used as they appear in Elizur Wright’s translation, retrieved 2 September 2016: https://ebooks.adelaide.edu.au/Ula_fontaine/ jean_de/fables/ complete. htmlUpreface 1. 4 Bernstein 1896, pp. 131-135. 5 Bennett, Anna Gray: Five Centuries of Tapestry from the Fine Arts Museum of San Francisco. San Francisco, 1992, p. 286—[289]. 6 Vignon, Charlotte: The Frick Collection. Decorative Arts Handbook. New York, 2015, p. 88. Frame: Nicolas Heurtaut, more information in http://collections.fnck. org. 7 Victoria and Albert Museum W.l 1-1941. http://collections.vam.ac.uk/item/O129660/ armchair-unknown/-, W. 13-1941 http://collections, vam. ac. uk/item/0129662/armchair/. 8 Opperman, Hal N.: ‘Observations on the tapestry designs of J.-B. Oudry for Beauvais (1726-1736)’. Allen Memorial Art Museum Bulletin. 1969, 26.2 49-71. p. 50. 9 Riffel, Mélanie - Rouart, Sophie: Toile de Jouy. Printed Textiles in the Classic French Style. London, 2003 (hereinafter Riffel - Rouart 2003), p. 146. The final form of the illustrations in the four-volume La Fontaine edition (1755-1759) was achieved by the block cutters who prepared the engravings from Oudry’s freehand drawings. 10 Presently on loan in the exhibition of the Andrássy Mansion in Tiszadob. 11 Retrieved on 2 September 2016: http://gallica.bnf. fr/ark:/12148/btvlb22001814/f23.item. r=oudry+la+fontaine.langFR.zoom. 12 When an haute-lisse (vertical) loom is used, the image is an exact copy of the cartoon. However, when a basse-lisse (horizontal) loom is used, a mirror image of the cartoon is produced. It should be noted that the depictions on the two backrests in the museum’s collection have some minute differences and are not exact mirror images, but were certainly produced using the same cartoon. I am indebted to Réka Semsey for calling my attention to the technical details. 13 The website of Anthony’s Fine Art and Antiques: http://www.anthonysfineart.com/. The specific suite of seat furniture can no longer be seen on the site, but the images can be seen here: https:// www. 1st dibs, com/furniture/seating/chairs/set-of- rosewood-napoleon-iii-aubusson-salon-sofa-chairs/ id-f_1166446i (accessed 11 November 2016). 14 Presently in the exhibition of the Andrássy Mansion in Tiszadob. 15 Joubert, Fabienne - Lefébure, Amaury - Bertrand, Pascal-Frangois: Histoire de la tapisserie en Europe, du Moyen Age a. nos jours. Paris, 1995, p. 260. 16 Musée de la Toile de Jouy, inv. 985.26.22, mentioned in: Riffel - Rouart 2003, p. 146. 17 Riffel - Rouart 2003, p. 149. A textile produced by the Rouen factory of Bapaume et Cocatrix in 1825 displays scenes from La Fontaine’s fables: Riffel - Rouart 2003, p. 150. 52
