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Antique Design:
A ware called Vieux Paris is today frequently seen in antique design shops. Most of it was made during the 19th century; it is enriched by patterns, ground colors, and painted miniatures, but the craftsmanship is crude in every element of its design. It has little to do with the art of ceramics, and it can be entirely classified as a commercial product.Most large towns will have at least one antique design dealer, dealing in antique design Furniture of varying quality. antique design dealers generally fall into two categories — the trade dealer and the retailer — although some dealers may operate in both trade and retail areas. The trade dealer, as the name suggests, deals mainly with other dealers. The stock will turn over fairly quickly and, as a result, will not be fully on display. The prices will often be a little lower than the retail dealer, but, should you decide to buy and seek "trade prices", then restoration, delivery costs and the facility to return goods are often excluded. While these can be arranged, you should expect to pay extra.
See Also Reproducing Antique Patterns:
Modern tapestries. Until recent years tapestry weaving has been largely confined to reproducing antique patterns, which, because they have been uninspired imitations, have lacked the spirit of original creative work. While skillful in technique, they have often been poorly designed. A few attempts have been made to weave modern patterns, but the cost of producing a handmade tapestry is so high and the demand has been so small that tapestries of this type have not yet been made in any considerable quantity. There has been, however, an effort to revive tapestry weaving as an art in France, and a return to the creative spirit of the Gothic period, with Aubusson and Gobelins looms in the vanguard, Such artists as Gromaire, Lurcat, Dufy, and Matisse have endeavored to rejuvenate one of France's oldest industries. Technicians in other fields have given of their knowledge and experience, and have approached the problem in a new light, not merely copying old patterns, but applying the earlier sense of fantasy and poetic feeling to contemporary designs, with results that attempt to equal the Gothic productions in freshness, vigor, and sincerity of artistic effort. They are designed on the hypothesis that tapestries should afford modern man a glimpse of unreality and a means of escape from the pressures of the machine era. Since modern rooms frequently possess large areas of unrelieved Wall space, these disciples of the use of modern tapestry urge its restoration to a prominent place in the decorative plan, as a source of texture, color, and pattern interest. Such usage would be comparable to that of the Gothic period, in which the hangings brightened the severity of stone walls. The weavers have adhered to the truest traditions of Textile weaving, and one realizes that these productions are woven designs, not paintings. The stereotyped efforts of the 19th century seem dwarfed by these new productions, whose vitality and integrity offer a promising future to an ancient art.Modern tapestries. Until recent years tapestry weaving has been largely confined to reproducing antique patterns, which, because they have been uninspired imitations, have lacked the spirit of original creative work. While skillful in technique, they have often been poorly designed. A few attempts have been made to weave modern patterns, but the cost of pro¬ducing a handmade tapestry is so high and the demand has been so small that tapestries of this type have not yet been made in any considerable quantity. There has been, however, an effort to revive tapestry weaving as an art in France, and a return to the creative spirit of the Gothic period, with Aubusson and Gobelins looms in the vanguard, Such artists as Gromaire, Lurcat, Dufy, and Matisse have endeavored to rejuvenate one of France's oldest industries. Technicians in other fields have given of their knowledge and experience, and have approached the problem in a new light, not merely copying old patterns, but applying the earlier sense of fan¬tasy and poetic feeling to contemporary designs, with results that attempt to equal the Gothic productions in freshness, vigor, and sincerity of artistic effort. They are designed on the hypothesis that tapestries should afford modern man a glimpse of unreality and a means of escape from the pres¬sures of the machine era. Since modern rooms frequently possess large areas of unrelieved Wall space, these disciples of the use of modern tapestry urge its restoration to a prominent place in the decorative plan, as a source of texture, color, and pattern interest. Such usage would be comparable to that of the Gothic period, in which the hangings brightened the severity of stone walls. The weavers have adhered to the truest traditions of Textile weaving, and one realizes that these productions are woven designs, not paintings. The stereotyped efforts of the 19th century seem dwarfed by these new productions, whose vitality and integrity offer a promising fu¬ture to an ancient art.
On The Other Hand See Colored Antique Silk:
The Artist's Materials.—Silk and paper are ised as the ground for the water-color technique if the Chinese artist. When the painting has ieen finished it is strengthened and backed with . much heavier paper and is framed on the face by . mounting of thin silk. Usually paper is chosen ,s the ground for the monochrome ink painting, nd silk is preferred for the highly colored antique silk com-wsitions. However, there is no hard and fast •ule, and the choice is a personal matter for the lainter to decide.Silk that has been reeled is known as raw silk. The damaged cocoons and the parts of each cocoon which cannot be reeled are called waste silk. Waste silk is combed and spun into spun silk or schappe yarns. Japanese raw silk is prepared for shipment in books containing from 25 to 30 tightly rolled skeins which are then packed in bales weighing from 125 to 140 pounds. Chinese silks are packed and shipped in a similar manner. Italian silks are packed in bales weighing 200 pounds or more. The silk used in the manufacture of fabrics may be divided into three general classifications: (1) silk threads as they come from the filature, where several cocoon threads have been com¬bined; (2) silk known as organzine, in which the original threads have been twisted and sev¬eral of these twisted threads have been combined; and (3) silk known as tram, in which threads coming from the reeling machine have been very lightly twisted together.
