A group of Four North European Tapestry Cushions 17th century

including a Dutch Armorial tapestry cushion (61 by 57cm.) with the arms of Averberg and Gevekote, and dated 1620; and three Biblical cushions; A North German cushion (58 by 60cm.) woven with scene of Flight into Egypt within a medallion surrounded by flowers including tulips, small butterflies in the corners, and small birds on cherry branches in the lower corners, on a dark blue ground;  A Dutch cushion (53 by 53cm.) woven with a scene of Jonah and the Whale within a medallion surrounded by flowers and a North German cushion (56 by 59cm.) depicting Abigail and David, within a square and floral border (Qty 4)

The Armorial tapestry cushion, with the arms of Averberg and Gevekote:
The Estate of Emma Budge, Hamburg (forced sale: Paul Graupe, Berlin, Die Sammlung Frau Emma Budge, Hamburg, 4^th-6^th October 1937, lot 407)
Kunsthalle, Bremen (acquired at the above sale)
Restituted to the heirs of Emma Budge by the above in 2010

Other cushions:
The Estate of Emma Budge, Hamburg (forced sale: Paul Graupe, Berlin, Die Sammlung Frau Emma Budge, Hamburg, 4^th-6^th October 1937,  lots 419, 428 & 430)
Schloss Gottorf, Schleswig (acquired at the above sale)
Restituted to the heirs of Emma Budge by the above in 2010

 

Colours of all tapestry cushions are more vibrant and cheerful and more defined than they appear in the catalogue image. They are all very good examples of their type and in good overall condition. Armorial tapestry cushion (61 by 57cm.), with later plain blue satin backing; repairs to blue ground in corners, and to edging in areas for example to feathers above the armoured helmets. Some repair to light ground of shield, otherwise good condition Flight into Egypt (58 by 60cm.), with later velvet backing; minor old repairs Jonah and the Whale (53 by 53cm.), with later tan coloured leather backing and small button shaped motifs on each corner; Minor splits in light areas of ground; and Abigail and David (56 by 59cm.), with later plain green wool backing, and edged with twisted braid; with some minor splits.
"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."

For comprehensive discussion of similar armorial Dutch tapestry cushions see, Ebeltje Hartkamp-Jonxis and Hillie Smith, European Tapestries in the Rijksmuseum, Amsterdam, 2004, pp.298-313. Including examples of cushions with the Civic Arms of De Rijp, dated 1642, which also incorporate the motif of the herring, which was an important source of income.

The cushion cover depicting Abigail kneeling before the equestrian figure of David, is in the style generally attributed to the North of Germany, Hamburg, Schleswig-Holstein, or the South of Denmark, and workshops founded by Flemish weavers in the late 16th century and were an important tapestry product into the 17th century. Small tapestries of this type were usually conceived as cushion covers, and it appears that they were frequently made as sets dealing with related subjects.  As in contemporary still-life paintings and engravings, they incorporated flowers and insects.

For further discussion of the examples of Biblical and floral tapestry cushions of this period in Museum Collections see C. Adelson, European Tapestry in the Minneapolis Institute of Arts, 1994, for further discussion of North German Biblical cushion covers depicting Faith, Hope and Charity, pp. 368-376, and further discussion of later Dutch armorial cushions.  

A. Cavallo, Tapestries of Europe and of Colonial Peru in the Museum of Fine Arts, Boston, Boston, 1967, pp. 138-139, cat. 41., for an example of a North German cushion, depicting Abigail and David, within a cartouche and with similar floral surround to the tapestry cushion offered here depicting Jonah and the Whale, see

Edith Appleton Standen, European Post-Medieval Tapestries in the Metropolitan Museum, 1985, Vol. I, pp.199-205, for discussion on a set of Flemish cushion covers of which several depict scenes from the Lives of Abraham and Isaac.

H. Göbel, Die Wandteppiche, 1934, Part III, Vol.ii, nos, 99-101, illustrates an range of Dutch and German cushions with similarities in design to those offered here.