manuel cohen

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  • An artisan carving a wooden panel in a workshop in sculpted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC102.jpg
  • An artisan working in a workshop in decorative woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC109.jpg
  • An artisan carving a wooden panel in a workshop in sculpted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC103.jpg
  • An artisan carving a wooden panel in a workshop in sculpted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC104.jpg
  • A boy painting his geometric design in a lesson in painted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC097.jpg
  • A lesson in painted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC098.jpg
  • A boy painting his geometric design in a lesson in painted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC099.jpg
  • An apprentice carving wood using a drawn stencil in a workshop in sculpted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC105.jpg
  • An apprentice carving wood using a drawn stencil in a workshop in sculpted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC106.jpg
  • An apprentice carving wood using a drawn stencil in a workshop in sculpted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC107.jpg
  • The Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC108.jpg
  • A boy painting his geometric design in a lesson in painted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC100.jpg
  • A boy painting his geometric design in a lesson in painted woodwork at the Artisan School or Dar Sanaa, founded 1919 under the Spanish Protectorate of Morocco, which teaches the traditional art and craft skills of woodwork, zellige, sculpted plaster, leatherwork, etc, in Tetouan on the slopes of Jbel Dersa in the Rif Mountains of Northern Morocco. Tetouan was of particular importance in the Islamic period from the 8th century, when it served as the main point of contact between Morocco and Andalusia. After the Reconquest, the town was rebuilt by Andalusian refugees who had been expelled by the Spanish. Picture by Manuel Cohen
    LC13_Morocco_MC101.jpg
  • Pierre Basse, artisan blacksmith, at work hammering iron on an anvil in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC013.jpg
  • Pierre Basse, artisan blacksmith, at work hammering iron on an anvil in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC014.jpg
  • Pierre Basse, artisan blacksmith, at work hammering iron on an anvil in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC011.jpg
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC008.jpg
  • Pierre Basse, artisan blacksmith, at work at the forge in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC009.jpg
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC006.jpg
  • Pierre Basse, artisan blacksmith, at work hammering iron on an anvil in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC012.jpg
  • Pierre Basse, artisan blacksmith, at work at the forge in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC010.JPG
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC007.jpg
  • Pierre Basse, artisan blacksmith, at work hammering iron on an anvil in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Picture by Manuel Cohen
    111217_PierreBasse_MC005.jpg
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC002.jpg
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC001.jpg
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC003.jpg
  • Artisan at work making musical instruments by hand in Bursa, Turkey. Picture by Manuel Cohen
    LC13_Turkey_MC064.jpg
  • Pierre Basse, artisan blacksmith, and Celia Bertrand, b. 1976, ceramicist, who made a documentary film about Pierre Basse, in his workshop in Vanves, Paris, France, in 2017. Pierre Basse was the ironmonger for Diego Giacometti, and makes objects and furniture from wrought iron. Celia Bertrand creates utilitarian and design objects from porcelain, clay and stone. Picture by Manuel Cohen
    111217_PierreBasse_MC004.jpg
  • Excavation of a bronze fibula workshop, late 1st century BC, found on top of an older iron fibula workshop, presumably belonging to the same family of artisans, in the Musee de la Civilisation Celtique, or Museum of Celtic Civilisation, designed by Pierre-Louis Faloci, opened 1996, at Bibracte, a Gaulish oppidum or fortified city, once the capital of the Aedui, at Mont Beuvray near Autun in Burgundy, France. The museum explores the discovery and excavation of the site of Bibracte, its context within the Celtic period, and the life of the Aedui at Bibracte. Picture by Manuel Cohen
    LC19_FRANCE_MC_0386.jpg
  • Flavie Vincent-Petit, master glassworker at Manufacture Vincent-Petit, a company specialising in the restoration of historic stained glass and the creation of contemporary glass works, in Troyes, Aube, Grand Est, France. Picture by Manuel Cohen
    LC21_FRANCE_MC_1711.jpg
  • Vicente Benlloch Caballer painting a fan at Abanicos Vibenca, on Plaza Lope de Vega in Valencia, Spain. This family business was started in 1910 by Antonio Benlloch Martinez, and continued by his son and now his grandson. The fans are made and painted by hand. Picture by Manuel Cohen
    LC21_SPAIN_MC_0106.jpg
  • Vicente Benlloch Caballer painting a fan at Abanicos Vibenca, on Plaza Lope de Vega in Valencia, Spain. This family business was started in 1910 by Antonio Benlloch Martinez, and continued by his son and now his grandson. The fans are made and painted by hand. Picture by Manuel Cohen
    LC21_SPAIN_MC_0107.jpg
  • Vicente Benlloch Caballer painting a fan at Abanicos Vibenca, on Plaza Lope de Vega in Valencia, Spain. This family business was started in 1910 by Antonio Benlloch Martinez, and continued by his son and now his grandson. The fans are made and painted by hand. Picture by Manuel Cohen
    LC21_SPAIN_MC_0108.jpg
  • Vicente Benlloch Caballer painting a fan at Abanicos Vibenca, on Plaza Lope de Vega in Valencia, Spain. This family business was started in 1910 by Antonio Benlloch Martinez, and continued by his son and now his grandson. The fans are made and painted by hand. Picture by Manuel Cohen
    LC21_SPAIN_MC_0110.jpg
  • Vertical looms in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_227.jpg
  • Weaving in progress in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_229.jpg
  • Weaving in progress in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_230.jpg
  • Checking the overhead design while weaving a contemporary rug in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_234.jpg
  • Marking up the design on the warp threads while weaving a contemporary rug in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_235.jpg
  • Weaving in progress on a Louis XV style carpet in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. This Louis XV 18th century style carpet is for the platform of the throne room in the Palais de Versailles, replacing the original (now lost) by following a design stored at the Bibliotheque Nationale. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_238.jpg
  • Weaving in progress on a Louis XV style carpet in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. This Louis XV 18th century style carpet is for the platform of the throne room in the Palais de Versailles, replacing the original (now lost) by following a design stored at the Bibliotheque Nationale. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_239.jpg
  • Rug weaving, detail, with ink marks on the warp threads to transfer the pattern, in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_241.jpg
  • Samples of dyed woollen thread used in weaving, in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_242.jpg
  • Weaver at work on a tapestry, seen reflected in a mirror used to check the front (reverse) in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_203.jpg
  • Tapestry weaving in progress, and the design, in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_205.jpg
  • Tapestry in progress, with pink wool on brooches and the design inked on the warp threads, in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_207.jpg
  • Storage of coloured wool on wooden brooches, in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_209.jpg
  • Storage of coloured wool on wooden brooches, in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_210.jpg
  • Reverse of a tapestry in progress, with design inked on to the warp threads, and brooches of coloured wool hanging, in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_211.jpg
  • Woollen threads on a vertical loom, detail, in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_216.jpg
  • Vertical looms in the Atelier Haute Lisse at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The haute lisse technique has been used at Les Gobelins since 1826, where tapestries are woven by hand on vertical looms, by weaving the weft threads between the vertical warps, using mirrors to check the progress and a traced pattern behind. Picture by Manuel Cohen
    LC20_PARIS_MC_220.jpg
  • Woman weaving a tapestry on a loom, seen from under the warp threads, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_172.jpg
  • Woman weaving a tapestry on a loom in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_173.jpg
  • Women weaving a tapestry on a loom in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_174.jpg
  • Woman weaving a tapestry on a loom, seen reflected in a mirror used to check the front (underside), in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_175.jpg
  • Woman weaving a tapestry on a loom, seen reflected in a mirror used to check the front (underside), in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_176.jpg
  • Woman weaving a tapestry on a loom, with traced design under threads, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_178.jpg
  • Women weaving a tapestry on a loom, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_182.jpg
  • Woman weaving a tapestry on a loom, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_181.jpg
  • Women weaving a tapestry on a loom, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_180.jpg
  • Woman weaving a tapestry on a loom, using a mirror to check the front which is underneath the warp threads, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_179.jpg
  • Woman weaving a tapestry on a loom, passing the wooden flute with thread under the warp threads, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_184.jpg
  • Woman weaving a tapestry on a loom, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_185.jpg
  • Woman weaving a tapestry on a loom, with traced design underneath, in the Atelier Basse Lisse, workshop making tapestries of smooth base on horizontal looms, in the Manufacture Nationale de Beauvais, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. The basse lisse technique was developed in the 18th century and involves moving warp threads using pedals while passing a wooden flute through while following the design. Picture by Manuel Cohen
    LC20_PARIS_MC_187.jpg
  • Weaving in progress on a Louis XV style carpet in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. This Louis XV 18th century style carpet is for the platform of the throne room in the Palais de Versailles, replacing the original (now lost) by following a design stored at the Bibliotheque Nationale. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_025.jpg
  • Weaving in progress on a Louis XV style carpet in the Manufacture de la Savonnerie, at the Gobelins Manufactory, a historic tapestry workshop, at Le Mobilier National, which commissions and conserves state furniture, in the 13th arrondissement of Paris, France. This Louis XV 18th century style carpet is for the platform of the throne room in the Palais de Versailles, replacing the original (now lost) by following a design stored at the Bibliotheque Nationale. The Savonnerie manufactory specialises in weaving velvet rugs, and joined the Gobelins site in 1826. The carpet weaving takes place on vertical looms using knotted lock stitches which are cut to form the velvet surface. Picture by Manuel Cohen
    LC20_PARIS_MC_024.jpg
  • Portrait of Simone Prouve, b. 1931, French weaver and abstract artist, in front of one of her panels, photographed 25th May 2017, in the Mercier & Associes Gallery in Paris, France. The gallery hosted an exhibition of her work from 11th May - 9th September 2017. Simone Prouve creates large panels of woven wire, often in stainless steel or fibreglass, completely fire retardant, to be used in architectural projects. Picture by Manuel Cohen
    250517_SimoneProuve_MC_001.jpg
  • Portrait of Simone Prouve, b. 1931, French weaver and abstract artist, in front of one of her panels, photographed 25th May 2017, in the Mercier & Associes Gallery in Paris, France. The gallery hosted an exhibition of her work from 11th May - 9th September 2017. Simone Prouve creates large panels of woven wire, often in stainless steel or fibreglass, completely fire retardant, to be used in architectural projects. Picture by Manuel Cohen
    250517_SimoneProuve_MC_004.jpg
  • Portrait of Simone Prouve, b. 1931, French weaver and abstract artist, in front of one of her panels, photographed 25th May 2017, in the Mercier & Associes Gallery in Paris, France. The gallery hosted an exhibition of her work from 11th May - 9th September 2017. Simone Prouve creates large panels of woven wire, often in stainless steel or fibreglass, completely fire retardant, to be used in architectural projects. Picture by Manuel Cohen
    250517_SimoneProuve_MC_006.jpg
  • Portrait of Simone Prouve, b. 1931, French weaver and abstract artist, in front of one of her panels, photographed 25th May 2017, in the Mercier & Associes Gallery in Paris, France. The gallery hosted an exhibition of her work from 11th May - 9th September 2017. Simone Prouve creates large panels of woven wire, often in stainless steel or fibreglass, completely fire retardant, to be used in architectural projects. Picture by Manuel Cohen
    250517_SimoneProuve_MC_005.jpg
  • Portrait of Simone Prouve, b. 1931, French weaver and abstract artist, in front of one of her panels, photographed 25th May 2017, in the Mercier & Associes Gallery in Paris, France. The gallery hosted an exhibition of her work from 11th May - 9th September 2017. Simone Prouve creates large panels of woven wire, often in stainless steel or fibreglass, completely fire retardant, to be used in architectural projects. Picture by Manuel Cohen
    250517_SimoneProuve_MC_008.jpg
  • Portrait of Simone Prouve, b. 1931, French weaver and abstract artist, in front of one of her panels, photographed 25th May 2017, in the Mercier & Associes Gallery in Paris, France. The gallery hosted an exhibition of her work from 11th May - 9th September 2017. Simone Prouve creates large panels of woven wire, often in stainless steel or fibreglass, completely fire retardant, to be used in architectural projects. Picture by Manuel Cohen
    250517_SimoneProuve_MC_011.jpg
  • Inside the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC081.jpg
  • Clay mould for a figurative sculpture and reflections of glazes on shelves, in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC080.jpg
  • Nicolas Desbons, metalworker and artist, at work on a plaster and clay mould for a figurative sculpture, and a standing clay sculpture, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC078.jpg
  • Inside the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC075.jpg
  • Process of soldering steel mosaic pieces together to form a figurative sculpture within a plaster mould, in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC072.jpg
  • Process of creating a figurative steel mosaic sculpture within a fibreglass mould, in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC067.jpg
  • Working on a fluid steel shape for a sculpture in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. On the right is Lea in Blue, a mosaic sculpture in blue steel. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC065.jpg
  • Lengths of steel stored on shelves in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC064.jpg
  • Nicolas Desbons, metalworker and artist, wearing a protective visor, soldering together squares of steel inside a plaster mould, to make a figurative sculpture, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC058.jpg
  • Nicolas Desbons, metalworker and artist, wearing a protective visor, soldering together squares of steel inside a plaster mould, to make a figurative sculpture, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC054.jpg
  • Nicolas Desbons, metalworker and artist, selecting squares of steel for a figurative sculpture made by placing steel pieces inside a plaster mould and soldering them together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC051.jpg
  • Two sculptures in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. On the right is Lea in Blue, a figurative mosaic sculpture of blue steel squares and on the left, another female torso made from cross-sections of steel tubes manipulated into organic shapes and soldered together. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC047.jpg
  • Inside the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC048.jpg
  • Nicolas Desbons, metalworker and artist, shaping a heated steel rod with a hammer on an anvil by the forge in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC040.jpg
  • Nicolas Desbons, metalworker and artist, shaping a heated steel rod with a hammer on an anvil by the forge in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC039.jpg
  • Nicolas Desbons, metalworker and artist, turning the handle on a machine in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC036.jpg
  • Nicolas Desbons, metalworker and artist, soldering steel pieces for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC029.jpg
  • Nicolas Desbons, metalworker and artist, wearing a safety visor to protect his eyes from the soldering iron, soldering steel pieces for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC030.jpg
  • Nicolas Desbons, metalworker and artist, soldering steel pieces for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC027.jpg
  • Nicolas Desbons, metalworker and artist, soldering steel pieces for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC025.JPG
  • Inside the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC022.jpg
  • Inside the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC018.jpg
  • Nicolas Desbons, metalworker and artist, selecting steel pieces for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC014.jpg
  • Nicolas Desbons, metalworker and artist, selecting steel pieces for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC013.jpg
  • Nicolas Desbons, metalworker and artist, cutting steel for a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC007.jpg
  • Figurative sculpture made from a mosaic of steel squares soldered together, in the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC008.jpg
  • Nicolas Desbons, metalworker and artist, and a sculpture made from cross-sections of steel tubes manipulated into organic profiles and soldered together, in his Soleil Rouge workshop, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC004.jpg
  • Inside the Soleil Rouge workshop of Nicolas Desbons, metalworker and artist, photographed in 2017, in Montreuil, a suburb of Paris, France. Desbons works mainly in steel but often in conjunction with other materials such as fibreglass, glass and clay, using both cold metal and forge techniques. He produces both figurative and abstract sculptures as well as furniture and lighting. Picture by Manuel Cohen
    02022017_NicolasDesbons_MC003.jpg
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