Polish Handwoven Kilim Rug Towers Tapestry by Piotr Grabowski for
Cepelia, 1972USD $6,800.00
Condition : Pre-owned
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Polish Handwoven Towers Tapestry by Piotr Grabowski for Cepelia, 1972. One of a kind tapestry - wall hanging designed by Piotr Grabowski and hand woven in Poland by E. Krawiec. Hand dyed, made of 90% wool and 10% flax. This is an extraordinary treasure to be displayed and cherished. Enjoy.
Original label reads Opolska Spoldzielnia (translates’Opole Cooperative, more info below), and Artysta Plastyk Piotr Grabowski (translates’Visual Artist Piotr Grabowski*). The article below shows the amazing talent and artistry and commitment of Piotr Grabowski.
Shipped with UPS. Shipping fees include handling & full insurance.
Measurements: 69”H x 48”W.
Condition: Absolutely Wonderful condition for its age. Please Examine Photos Carefully.
*Noteworthy is a polish article about Designer Artist Piotr Grabowski written March 4, 2005 by Mariusz Patrzyk about:
THE VERY BIG TAPESTRY (See last Photo)
It is 210 centimeters high and 350 long. 17 kilograms of hand-spun dyed wool was used to make it. Krystyna Szklarz from the Artistic Handicrafts Cooperative Cepelia "Opolska" weaved him a whole 8 months. The largest tapestry made in Poland in recent years presents a retinue of mounted knights against the backdrop of the city panorama: 26 knights, 11 horses and a forest of pennants. The central figure is Prince Władysław Opolczyk, and the city in the background is Opole, reproduced according to 16th-century engravings.
- Prince Władysław deserved such a commemoration, he is a colorful figure that has become part of the history not only of Opole Silesia - argues the tapestry author, well-known visual artist and former long-term president of "Cepelia" in Opole Piotr Grabowski. - He took care of the position of the Duchy of Opole, fought with whatever he could, but also brought Paulines to Jasna Góra and found a wonderful image of Our Lady of Częstochowa.
Piotr Grabowski's idea has been waiting for implementation for almost 20 years. Mainly for lack of money. These were finally found in the Marshal's Office of the Opolskie Voivodeship, whose representatives saw the project last year at the artist's jubilee exhibition. The implementation cost PLN 12,000. The owner of the tapestry, which was finally removed from the loom at the end of February, will be the Museum of Opole Silesia.
Cepelia "Opolska" is one of the few performers of large artistic fabrics in Poland. Conjured from wool, fascinating in its colors, the images still arouse admiration and recognition, but the times when customers pulled tapestries from their hands have probably gone forever. In any case, Piotr Grabowski has no illusions: - The market has changed. We do beautiful things that certainly would find buyers around the world, but we can not afford costly promotion. We used to employ 60 bands, today there are only two left ...
About:
CEPELIA
In 1949 the Polish Council of Ministers called to life the Center of Folk Art and Industry, known as Cepelia for short, which was to play an important role in the postwar history of Polish handicrafts. In 1950, Cepelia supervised 292 production centers, including 194 cooperatives, and 128 retail shops. Cepelia was to perform important cultural tasks and conduct economic activity within the general framework of the planned national economy. It was to supervise every stage of production and sale of products of craftsmanship and to take care of the artistic standard of these products. Thus it appointed its own Department of Artistic Supervision and appraisal commissions composed ol artists and eminent experts. In addition Cepelia also ran its own industrial art establishments and conducted sales at home and extensive exports. At first Cepelia was directly subordinate to the State Commission of Economic Planning. As a result of reorganization of the Polish cooperative movement in 1954 it ceased to be a state institution. Finally in 1962 it acquired still greater freedom of action, based on its own planning and its own pricing commission. Thus it fell to Cepelia to shape everyday culture of a specific type, to nurture and protect folk art and propagate it abroad. Cepelia also reached back to traditions ofthe old gentry, to Sarmatian traditions, particularly in the 1960s during celebrations of Poland's Millennium. On the other hand, it was slow in reacting to world fashions in industrial art.
Throughout the period of its existence, textiles have taken priority in Cepelia production, accounting for as much as 60 per cent of the overall output. Production of textiles is limited only by short supplies of raw materials, wool and silk in particular. Among textiles, kilim rugs and tapestry tapestries, and sometimes tapestries which combine both these methods, predominate. As we know, kilims are thick decorative fabrics having a closed composition, often surrounded by a border. They have a flaxen warp covered completely by the weft. They are made on ordinary horizontal looms, the reed beating down the weft, hence they are occasionally called reed kilims. Tapestries, on the other hand, are made by beating down the weft with a wooden or steel comb on a standing loom; consequently such tapestries are often called comb tapestries. Three types of kilim were made: the first modeled on folk traditions; the second on traditions of the former gentry; and the third giving preference to original, modern motifs inspired by painting. The first type of kilim rug was produced mainly in the Zakopane Ateliers Cooperative in Zakopane under the supervision of Krystyna Szczepanowska and Maria Bujakowa. Zakopane reed kilims were made of handspun wool in natural colors, which gave them a coarse glistening surface. As a rule, kilim borders featured rhythmically arranged human figures or birds. Folk motifs predominated on kilims made by the Pilsko Cooperative in Zywiec and the Podhalahska Cooperative in Nowy Targ (the latter included the well- known workshop of Wanda Kossecka). Kilims in the old gentry style were made by the Artes Cooperative in Oliwa, which often copied originals preserved in museums, and by the Sztuka Beskidzka Cooperative in Czechowice, where Krystyna Falecka-Szrekinger made particularly aitractive designs. As regards gobelin tapestries, Cracow remained in the lead with its Stanislaw Wyspiariski Cooperative opened in 1949 (first under the name of Artists' Cooperative) and the Wanda Cooperative established thanks to the efforts of Wanda Telakowska, Helena and Stefan Galkowski and Walentyna Swidowa. Cooperatives executed designs provided by various artists, but the most frequent subjects were historical, mythological and legendary scenes. The characteristic original style of these tapestries was enhanced by their technical perfection.
The art of kilim and tapestry making was also practiced elsewhere, for example by the Rekodzielo Artystyczne Cooperative in Warsaw, the Wielkopolska Cooperative in Poznari, the Ars Cooperative in Toruh and the OPOLSKA COOPERATIVE IN OPOLE. (which is specified on this tapestry’s label under Producer ‘Opolska Spoldzielnia’, translates to ‘Opole Cooperative’)
Shipped with UPS. Shipping fees include handling & full insurance.
SHIPPING EXCLUSIONS:
Bahamas, Bermuda, Brunei, Darussalam, Cayman Islands, Chad, Côte d’Ivoire (Ivory Coast), Djibouti, Ecuador, El Salvador, French Polynesia, Guyana, Honduras, India, Iran, Jamaica, Kuwait, Lebanon, Libya, Madagascar, Maldives, Mauritania, Mauritius, Moldova, Mongolia, Montenegro, Morocco, New Caledonia, Panama, Peru, Philippines, Saint Kitts-Nevis, Saint Lucia, Samoa, Somalia, South Africa, Sri Lanka, Suriname, Trinidad and Tobago, Tunisia, Turkey, Wallis and Futuna, Western Sahara, Zimbabwe
Original label reads Opolska Spoldzielnia (translates’Opole Cooperative, more info below), and Artysta Plastyk Piotr Grabowski (translates’Visual Artist Piotr Grabowski*). The article below shows the amazing talent and artistry and commitment of Piotr Grabowski.
Shipped with UPS. Shipping fees include handling & full insurance.
Measurements: 69”H x 48”W.
Condition: Absolutely Wonderful condition for its age. Please Examine Photos Carefully.
*Noteworthy is a polish article about Designer Artist Piotr Grabowski written March 4, 2005 by Mariusz Patrzyk about:
THE VERY BIG TAPESTRY (See last Photo)
It is 210 centimeters high and 350 long. 17 kilograms of hand-spun dyed wool was used to make it. Krystyna Szklarz from the Artistic Handicrafts Cooperative Cepelia "Opolska" weaved him a whole 8 months. The largest tapestry made in Poland in recent years presents a retinue of mounted knights against the backdrop of the city panorama: 26 knights, 11 horses and a forest of pennants. The central figure is Prince Władysław Opolczyk, and the city in the background is Opole, reproduced according to 16th-century engravings.
- Prince Władysław deserved such a commemoration, he is a colorful figure that has become part of the history not only of Opole Silesia - argues the tapestry author, well-known visual artist and former long-term president of "Cepelia" in Opole Piotr Grabowski. - He took care of the position of the Duchy of Opole, fought with whatever he could, but also brought Paulines to Jasna Góra and found a wonderful image of Our Lady of Częstochowa.
Piotr Grabowski's idea has been waiting for implementation for almost 20 years. Mainly for lack of money. These were finally found in the Marshal's Office of the Opolskie Voivodeship, whose representatives saw the project last year at the artist's jubilee exhibition. The implementation cost PLN 12,000. The owner of the tapestry, which was finally removed from the loom at the end of February, will be the Museum of Opole Silesia.
Cepelia "Opolska" is one of the few performers of large artistic fabrics in Poland. Conjured from wool, fascinating in its colors, the images still arouse admiration and recognition, but the times when customers pulled tapestries from their hands have probably gone forever. In any case, Piotr Grabowski has no illusions: - The market has changed. We do beautiful things that certainly would find buyers around the world, but we can not afford costly promotion. We used to employ 60 bands, today there are only two left ...
About:
CEPELIA
In 1949 the Polish Council of Ministers called to life the Center of Folk Art and Industry, known as Cepelia for short, which was to play an important role in the postwar history of Polish handicrafts. In 1950, Cepelia supervised 292 production centers, including 194 cooperatives, and 128 retail shops. Cepelia was to perform important cultural tasks and conduct economic activity within the general framework of the planned national economy. It was to supervise every stage of production and sale of products of craftsmanship and to take care of the artistic standard of these products. Thus it appointed its own Department of Artistic Supervision and appraisal commissions composed ol artists and eminent experts. In addition Cepelia also ran its own industrial art establishments and conducted sales at home and extensive exports. At first Cepelia was directly subordinate to the State Commission of Economic Planning. As a result of reorganization of the Polish cooperative movement in 1954 it ceased to be a state institution. Finally in 1962 it acquired still greater freedom of action, based on its own planning and its own pricing commission. Thus it fell to Cepelia to shape everyday culture of a specific type, to nurture and protect folk art and propagate it abroad. Cepelia also reached back to traditions ofthe old gentry, to Sarmatian traditions, particularly in the 1960s during celebrations of Poland's Millennium. On the other hand, it was slow in reacting to world fashions in industrial art.
Throughout the period of its existence, textiles have taken priority in Cepelia production, accounting for as much as 60 per cent of the overall output. Production of textiles is limited only by short supplies of raw materials, wool and silk in particular. Among textiles, kilim rugs and tapestry tapestries, and sometimes tapestries which combine both these methods, predominate. As we know, kilims are thick decorative fabrics having a closed composition, often surrounded by a border. They have a flaxen warp covered completely by the weft. They are made on ordinary horizontal looms, the reed beating down the weft, hence they are occasionally called reed kilims. Tapestries, on the other hand, are made by beating down the weft with a wooden or steel comb on a standing loom; consequently such tapestries are often called comb tapestries. Three types of kilim were made: the first modeled on folk traditions; the second on traditions of the former gentry; and the third giving preference to original, modern motifs inspired by painting. The first type of kilim rug was produced mainly in the Zakopane Ateliers Cooperative in Zakopane under the supervision of Krystyna Szczepanowska and Maria Bujakowa. Zakopane reed kilims were made of handspun wool in natural colors, which gave them a coarse glistening surface. As a rule, kilim borders featured rhythmically arranged human figures or birds. Folk motifs predominated on kilims made by the Pilsko Cooperative in Zywiec and the Podhalahska Cooperative in Nowy Targ (the latter included the well- known workshop of Wanda Kossecka). Kilims in the old gentry style were made by the Artes Cooperative in Oliwa, which often copied originals preserved in museums, and by the Sztuka Beskidzka Cooperative in Czechowice, where Krystyna Falecka-Szrekinger made particularly aitractive designs. As regards gobelin tapestries, Cracow remained in the lead with its Stanislaw Wyspiariski Cooperative opened in 1949 (first under the name of Artists' Cooperative) and the Wanda Cooperative established thanks to the efforts of Wanda Telakowska, Helena and Stefan Galkowski and Walentyna Swidowa. Cooperatives executed designs provided by various artists, but the most frequent subjects were historical, mythological and legendary scenes. The characteristic original style of these tapestries was enhanced by their technical perfection.
The art of kilim and tapestry making was also practiced elsewhere, for example by the Rekodzielo Artystyczne Cooperative in Warsaw, the Wielkopolska Cooperative in Poznari, the Ars Cooperative in Toruh and the OPOLSKA COOPERATIVE IN OPOLE. (which is specified on this tapestry’s label under Producer ‘Opolska Spoldzielnia’, translates to ‘Opole Cooperative’)
Shipped with UPS. Shipping fees include handling & full insurance.
SHIPPING EXCLUSIONS:
Bahamas, Bermuda, Brunei, Darussalam, Cayman Islands, Chad, Côte d’Ivoire (Ivory Coast), Djibouti, Ecuador, El Salvador, French Polynesia, Guyana, Honduras, India, Iran, Jamaica, Kuwait, Lebanon, Libya, Madagascar, Maldives, Mauritania, Mauritius, Moldova, Mongolia, Montenegro, Morocco, New Caledonia, Panama, Peru, Philippines, Saint Kitts-Nevis, Saint Lucia, Samoa, Somalia, South Africa, Sri Lanka, Suriname, Trinidad and Tobago, Tunisia, Turkey, Wallis and Futuna, Western Sahara, Zimbabwe
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