A Flemish Gothic Allegorical Narrative Tapestry Panel, probably Tournai early 16th century

woven with various groupings of figures, including a seated lady with a baby group of figures, one equestrian with falcon being handed an urn of refreshment,  some figures with Greek characters in the hem of clothing, indicating being foreign to the territory, all within a landscape setting, with a distinctive mille-fleurs ground, small fruiting trees; lacking border

From the late 15^th century through to the 16^th century there was a general appeal in the depiction of country life tapestries and the composition of the pieces and interpretation of the theme reveals similarities in panels from various weaving centres.  Interpretation of the specific biblical, classical, allegorical or historical subjects is not always clear, particularly from fragments, and considering that all the figures wore contemporary fashion.

F. Joubert, Musée national du Moyen Age, Thermes de Cluny, La tapisserie médiévale, Paris, 2002, pp.186-187, pl.186, illustrates a very similar subject in a tapestry from the Burrell Collection, Glasgow, with figures around a fire, lacking a border. See also a similar allegorical panel sold at Christie's London, 16th November 2000, lot 130, depicting figures playing cards, others fighting and seated couples, and lacking a border (297cm. x 285cm). For an earlier comparable Allegorical Tapestry, Tournai, circa 1528-40, depicting The Ship of Virtues from The Series The World, see C. Adelson, European Tapestry in the Minneapolis Institute of Arts, 1994, pp.92-104.

Cavallo, Textiles - Isabella Stewart Gardner Museum, Boston, 1986, pp.34-37, no.5, The Landlord and the Woodcutter (T30w4), Flemish, probably Tournai, circa 1510-1520, By repute purchased from Charles Rafard, Paris, 9^th May 1892 (measurements: 356cm. x 334cm; border cut and joined). It depicts figures in fashionable contemporary 16^th century dress which are standing within a `hortus conclusus' (enclosed garden), with some couples outside the area in the landscape surround which incorporates small fruiting trees. It was considered to depict a general subject, although comparison has been made to the Biblical subject from the Parable of the Workers in the Vineyard (Matthew 20:1-16), which is a subject depicted in two 16^th century tapestries known to exist in Zamora Cathedral. Cavallo notes an interesting similar tapestry in the Kunstindustrimuseet, Copenhagen (Provenance: Figdor Collection), which although has figures in diffent pursuits, the Boston panel with figures with axes, the Copenhagen figures carry pruning knives panel includes the identical central figure reading from a parchment

G.F. Wingfield Digby, The Tapestry Collection – Medieval and Renaissance, Victoria and Albert Museum, London 1980, Cat.no. 33, pp.44-45, black and white illustrations, pl.53A -53D, Three Hunting Scene Fragments, described as Brussels, first quarter 16^th century, two of which (53A &D: 124cm x 167cm. and 110cm. x 128) are similar styles, and woven with similar figure types of gentlemen, with belted tunics, hose and hats, and the similar style of horse, within hillocky landscapes.

Of similar format to the offered tapestry panels is a similar tapestry panel of mixed groups of figures and not just one pursuit, with various sizes of figures across the tapestry plane, in their very detailed clothing and accompanying accoutrements, the mille-fleurs foreground, fruit trees, stylised buildings in the background, and Wingfield Digby, opcit, pp.44-45, Cat.no. 33

For comparable similar general compositions with various figures at work and at play in a landscape setting, see two early 16^th century tapestries, both described as Tournai and ilustrated in H. Göbel, Die Wandteppiche, 1923, Part I, Vol.ii, pl.254 & 255. Both are of larger dimensions and particularly width. One panel depicts the `Woodcutters' (Musée des Arts Décoratifs, Paris) and amongst the simlarities is the distinctive style of castle and turrets in the background, and the other panel depicts figures playing a game `Le Jeu à la Main Chaud' (Victoria and Albert Museum, London. Wingfield Digby, opcit. Cat.19, pg.33, pl.30-31, there described as Flemish).  Similarly to the offered tapestry panels, they are woven in the same style, albeit slightly elongated figures, the distinctive style of mille-fleurs foreground and all incorporate the small orange and holly trees, symbolic of the seasons and garden of paradise.  Interestingly the Victoria and Albert Museum example (326cm. x 550cm), has figures and flanking trees extending up the composition, with less of the horizon visible across the top edge, in the first of the panels offered here. 

There are other similar tapestry panels, in style, date and format, which are more specifically related to Hunting and Falconry, for example a `Falconry Tapestry', Tournai, early 16<sup>th</sup> century, Sotheby's, London, 17<sup>th</sup> April 1980, lot 150 (325cm. x 417cm.), and another Sotheby's, London, 3rd December 1997, lot 39 (350cm. x 320cm.), together with other auction comparables including a `Falcon Hunt' tapestry panel, Tournai (or South Netherlands), circa 1530, Sotheby's, London, 8^th December 1995, lot 22 (335cm. x 380cm), and another, a fragment  of `Departing for the Hunt', Tournai, circa 1550, Sotheby's London, 1^st July 1966, lot 18 (Provenance: Collection of the Late Lady Lorimer; 290cm x 384cm), all incorporating couples, huntsmen, hounds, horses, falcons and mille-fleurs foreground.

This tapestry has partial lining of old linen, around the edges. Later four-sided blue selvedge. It would benefit from being relined, across the whole panel, with Velcro added across the top for future hanging purposes. There are patches of linen attached at the back which are old consolidating repairs to which the stitches were attached for support, as no lining. Not unusual to see these on tapestries of this age, that have not been re-lined for many years. As a result of no lining, the colour is visible at the back, revealing that the tapestry still has fairly strong colours overall. Colours not as strong as in the catalogue image, but more subdued. Light areas less startling in reality. In overall very good stable condition. Some dirt and general fading commensurate with age. For example see discolouration in sky, typical of top edge of tapestry, and the flesh colours having faded, to what is a typical flesh colour now for old tapestries. In contrast there are still the subtle hints of pink and apricot and coloured eyes, which is the exception rather than the rule. Some old small repairs commensurate with age. Repairs to areas of light areas in places. Some minor splits, commensurate with age. Generally in good restored condition. In this particular panel there is a small patch, top left corner of the tapestry, visible in the photograph. There is an area of joined patches, bottom left hand corner, to which paint has been partially added to leaf work of a small section. The area concerned is far bottom corner, across the bird being held by the kneeling boy, his legs and area in between. Not immediately visible and not discerning to overall balanced appearance. There is a strip of later repair across the female figure with the baby, and the red stocking of the figure to her left, and the red robe of the standing figure on her right, which is visible in the photograph, as an area of different colour. Repair to area top right corner, above turban of figure. Measurements: Fragment Left Vertical height: 350cm. Central Vertical height: 358cm. Right Vertical height: 354cm. Top Horizontal width: 343cm. Central Horizontal width: 338cm. Bottom horizontal width: 335cm. Approx. 4cm. of tapestry underneath the visible lower selvedge which is stitched on top of the tapestry. Evidence lower left corner of small section of original brown selvedge. This is a striking tapestry of balanced composition and colour. It has many beautiful examples of highly technical early weaving technique, such as eccentric weave and hachures. Very evocative and charming early tapestry panel with attention to every detail, from the pips of the pomegranates high in the trees, to the petals of the millefleurs flowers, and especially to the costume and faces.
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