I - FIRST DRAWINGS

As all children Annie Bouquet loved to draw. Her talent she holds from her father and her grandfather >>suite>>

I - A CHOICE

After three years of studies in graphics advertising, and after a proposal offered by a very ancient manufactures >>suite>>

I - DECORATIVE ART

which since centuries makes the renowned of the French spirit >>suite>>

II - UNIVERSE FOR LADIES

The manufacture were created to the late nineteen century where the "Ladies's Works >>suite>>

II - LADIES'S WORKS

She found also there these immense hanging wall tapestries intended for these citizens and spacious bourgeois houses >>suite>>

III - VARIETY OF THE BEAUTY

Within this firm Annie Bouquet acquired real and original techniques to the "cartonnière" work and extend her knowledge of all styles from >>suite>>

III - EMBROIDERER AND CARTONNIER

It is interesting enough to note that concerning embroidery and stitched tapestry to the Petit Point one forgets >>suite>>

III - PERSONAL CREATIVITY

That is certainly the fact that the embroidery and the stitched tapestry or needlepoint use the personal creativity of each of us >>suite>>

IV - BAYEUX

The oldest example known of this collaboration appears with this famous Tapisserie de Bayeux >>suite>>

V - THE COLORS COMBINATION ART

Finally and especially the art of the "cartonnier" is, as for the tapestry of low or high wrap, the judicious choice of the colors >>suite>>

VI - SECULAR

The difficulty comes from the few colors at the disposal of the cartonnier. It is therefore not only an extremely sharpened sensitivity to the color >>suite>>

VI - MASTERY

Nevertheless, we have only to admire these sumptuous XVth to the XVIIIth century woven tapestries to realize the extraordinary possibilities of this art of the combination >>suite>>

VII - BRUSHES

To this art of the color that holds the cartonnier , he or she associates an other which is the Art Painting >>suite>>

VII - NEEDLES

Painting with the needle is also an expression to determine a work where the number of colors and their juxtaposition really make feel as seing a painting >>suite>>

VIII - SILK-SCREEN

These three techniques use indiscriminately the "Hand Painted" appellation. An alone can truly to claim it >>suite>>

VIII - HAND PAINTED WITH THE BRUSH

For some stitcher one get out of the " needle painting" because one loses there these subtle nuances and these imperceptible shades >>suite>>

VIII - STENCIL KEY SET

These Artiste come from branches of industry quite distant of printer and their more or less toxic odors >>suite>>

IX - SMELTING THE COLORS

Here is one among the most significant challenge that were posed to the weaver and to the stitcher from all pasts centuries up today >>suite>>

X - THE GRADATION & THE NUANCE

Only, therefore, the brush allows to visualize this fineness of the gradation and only the lissier and the stitcher can interpret this gradation according to their own techniques >>suite>>

XI - SIGNATURE

All paints are signed. However once ended, never embroidery nor tapestries are. Only works of >>suite>>

XI - TAPESTRY

Paris to get the works created by such or such "cartonnier"artist. They are the Americans who have shown the way >>suite>>

XII - SENSITIVITY

XII - TO REVEAL

This hand painting
"to the brush"  is not only the most authentic expression of the cartonnier, >>suite>>