A Flemish Classical Tapestry, Brussels, workshop of Jan de Strycker, circa 1640

possibly depicting Old Testament Biblical subject of `Joseph and Potiphar's wife (Genesis: 39:7-2-), woven within an elaborate architectural border with Solomonic columns, the brown selvedge with B*B Brussels town mark, weaver's name and mark, IAN.DE.STRYCKER

Colours are tonally a fairly accurate match with the photograph. They are not as strident in reality. They are still bold and cheerful, but more delicate. The very detailed patterned skirt is more delicate shades of yellow and salmon, not the bright yellow and tangerine as appears in the catalogue photograph. The yellow generally is lighter more attractive lemon yellow and not is as bright. There are areas of repair overall with the main narrative panel and the border. The areas of brown weave, for example shadows and architectural detailing and the arch, have oxidised and leave specks of the white warp threads visible, which is commensurate with this dye colour. Some areas have been repaired and within the arch in the top right corner there are lighter areas which are machine repairs. This type of repair is also present in the top section of the arch with areas which are mauve in colour, and in the dark shadow around the foot in the lower left corner, the mauve appearing area within the dark outer edge of the right hand column, half way up. There are also machine and hand repairs to the lighter brown area between the two figures. Stable condition overall. It is in stable condition. Detailed composition and fine weaver. It is a decorative panel, of balanced colour and composition overall.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The architectural border with Solomonic columns was a popular design for 17^th century Baroque tapestry series, and was woven by various Flemish workshops with dramatic effect. For varied examples of Brussels Classical series of tapestries with comparable large figures within similar architectural borders, see Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, Vol. II, Serie 115, pp.268-274, Story of Diana and Cupid, attributed to workshop of Frans van den Hecke, circa 1630, which has similar borders and incorporates the scallop shell in the centre of the horizontal border design, along with similar composition in weavings of the Story of Theseus, attributed to Jan Raes, circa 1625/1630, illustrated ibid., Series 56, pp.117-133. This border design was not restricted to figural series, but also used around portico garden tapestries of the same period, woven in Antwerp, Oudenaarde and Ghent.

 

Weaver is cited in the following publications:

H. Göbel, Die Wandteppiche, 1923-1934, Part I, Vol.i, pp.340 & 470. Brussels weaver, priviledged in 1640.

W.G. Thomson, A History of Tapestry, London 1973, chp. XIV, pg.397, includes Jean Stryckers, 1680, under list of 17^th century Brussels weavers, taken from various sources, on basis of M. Wauters Les Tapisseries bruxelloises.