`Banquet of Zenobia', A Flemish Classical Tapestry, Brussels, workshop of Gerard Peemans, after designs by Justus van Egmont third quarter 17th century

exuberantly woven with a banquet scene celebrating the marriage of Zenobia; lacking borders

The colours of this tapestry are crisper, and more defined than in the photograph. Not as flat in appearance in reality. The colours are vibrant and lively in reality and attractive. Variation and wide range of colours. The blue swag in the background is an attractive sky blue. This tapestry has a linen lining and has Velcro attached across the top for hanging purposes. This tapestry is lacking a border, but this does not detract from the overall effect. It has a later outer selvedge. The tapestry is in very good professionally restored condition. There are some minor repairs in areas, commensurate with age and light colours of original weave. For example repairs to some of light highlights, and definition details such as eyes of cherubs in the background, and outlines of musical instruments. There is some repair to areas of brown, where the original weave has corroded, which is usual when browns are used in pieces of this age, and there are some areas of repair therefore to the brown curls of the hair of some of the main figures. This Baroque tapestry is of fine quality weave overall, allowing for charming detailing, for example to faces and costume. This is a well balanced tapestry in colour and compostion, of versatile size and evocative subject matter.
"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 set of tapestries of The Story of Zenobia, is recorded to have had as many as fifteen panels in the narrative series, and fifteen Peemans signed pieces were sold at the Galerie Georges Petit, Paris, 15^th June, 1928 (lots. 45-58, of which five were illustrated). Four panels are in the Brussels Royal Museums (Marthe Crick-Kuntziger, Bulletin des Musées Royaux d'Art et d'histoire, 22, 1950, L'histoire de Zénobia, pp.11-26, which identifies Justus van Egmont, as the designer), and other sets are in the Bayerisches Nationalmuseum and the Spanish National Collection. Despite the lack of the workshop signature on the presently offered panel, and the lack of a border, the panel of this subject of the Banquet of Zenobia from the Spanish National Collection, contributes to the attribution as it is signed G. Peemans, and has a border cartouche enclosing the inscription, EPVLM CONIVGALE ZENOBIA ET ODONATI, see Paulina Junquera de Vega, Carmen Diaz Gallegos, Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, Vol. II, Siglio XVII, Serie 62, Paño I-VIII, pp.164-172, Historia de Zenobia, from the Palacio de San Ildefonso, Segovia.

The weaving of the Banquet of Zenobia and Odonato (395 by 642cm), is within a border type which incorporates exuberant foliage and swags, all held in place by winged putti, and supported by elaborate urns on carved marble plinths, and this border type is also present in the four Brussels Royal Museum examples, which include a wider composition of the Banquet of Zenobia (405 by 480cm),  which has the Brussels city mark and is signed G. Peemans (See Marthe Crick Kuntziger, Musée Royaux d'Art et d'Histoire de Bruxelles Catalogue des Tapisseries, circa 1954, pp.73-75, pl. 80-83). 

The designs for the Zenobia series by Justus van Egmont (1601-1674), a Rubens workshop painter, show close resemblance in compositional elements to the narrative series he designed depicting the Story of Cleopatra, which was commissioned in 1661 by Marshal Daumont, then in charge of the citadel of Antwerp, and woven by the Brussels weaver Geraert Peemans, with incorporation of gold and silver threads. Many of the extant panels from this series are signed by Peemans and his son in law Geraert van der Strecken (fl. 1647-1677), who in turn became partners with Jan van Leefdael (fl.1644-1660) and together between the years of 1650-1677 they wove classical narrative tapestry series, including those of The Story of Cleopatra and The Story of Zenobia. For comprehensive discussion of this series and the similarities between panels of these two famous series, from a set of the Story of Cleopatra weavings woven and signed by these two weavers, see Edith Appleton Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum, 1985, Vol. I, pp.206-217.