`Pomona and Pan', A Flemish Mythological Tapestry, from `Vertumnus in disguise as a haymaker', The Story of Vertumnus and Pomona, Brussels, workshop of Jacob I Geubels and Jan I Raes, from Ovid's Metamorphoses (Book XIV: 623-771) first quarter 17th century,

depicting a peacock and peahen in the foreground, with small figures of Pomona and Pan in the background central colonnade, the mythological figures set within elaborate marbled and columned portico settings with detailed trellis work overhead, and formal gardens extending into the distance, with a four-sided border;  without town mark or weaver's marks

Tapestry is partially lined, with linen - around all edges and then in vertical strips, leaving six alternate strips of tapestry showing. Revealing true colours, not so faded, as on the front of the tapestry. It is Recommended that Velcro should be added across the top edge (approx. 391cm. wide) for hanging purposes in the future. Blue outer selvedge largely original, with some repaired old moth damage, evident as slightly different coloured spots. Sections of right vertical selvedge repaired. Overall in good and stable condition. Colour faded generally, commensurate with age. There are some small splits in areas within the light areas, such as the highlights to the term figure supports, and areas of the inner borders, and repairs to light sky and section of marble near the peacock. Areas of repair in areas, especially highlight areas, such as the horizontal strip of grass across the centre of the composition, to the edges of border corner strapwork surrounding the mask, also small repairs within within the architectural features (plinth bases) and the yellow banded and brown narrow outer borders. Repair which is only visible on close inspection is the front foot of the foreground peacock which has been cut around and applied over the top of the repaired horizontal light strip section between the column bases, (the light strip at the base of each plinth is also repair). Some rewoven repairs, top right corner, to the horizontal supporting beam, which is a different colour (terracotta rather than mustard, and visible in the photograph). There are rewoven horizontal strips across the left and right borders, level with centre of the grass section of the main field, which are visible as the light areas. There is a similar repair in the left border, towards the top and level with the horizontal architraving. Generally there are some flecks of wefts showing in areas of brown weave, within the border and areas of architectural detailing, which is due to corrosion of brown and is commensurate with the age and colour of dye (and is visible in the photograph). Balanced composition and colour, with charming subject matter and landscape background.
"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 inclusion of `Pomona and Pan', albeit as distant smaller figures in the central background portico, distinguish this as a panel from the series of Vertumnus and Pomona, and it is a detail prominent in weaving of the panel depicting `Vertumnus in the disguise as a haymaker' Similarities in the design elements to the series of tapestry panels, woven in Brussels, by workshop of Willem de Pannemaker (1564-1571), with simpler frame pattern borders, of `Cardinal Granvelle's Gardens. A panel without any figures, and with a columnar series of porticos, with turkeys and peacocks on the foreground terrace, is illustrated in Guy Delmarcel, Flemish Tapestries, London, 1999, Chp. II The Renaissance, pp.65-207, The golden days of the Flemish Renaissance in Brussels tapestries pp.119-141, Vertumnus and Pomona: Vertumnus as a Farm Worker, colour plate, pg.131.

For example see versions from the early Pannemaker weavings from the Patrimonio Nacional Madrid (illustrated Paulina Junquera de Vega, Concha Herrero Carretero, Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, Vol. I, Siglio XVI); Serie 16: Vertumno y Pomona, Paño II, pg. 109, Vertumno transformado en agricultor, which is a fragment of the central section with similar reverse female caryatids, and Pomona on the left side of Pan, and including a female figure placing a basket of flowers on the foreground terrace; Serie 17: Vertumno y Pomona, Paño I, 117, Vertumno transformado en agricultor, for a complete panel, with Pan on the left with hoe and hat of grass, Pomona on the right, and also in the background as in the present panel, and also with the foreground female figure with the basket of flowers. Variations to the architectural porticos, and there are no birds in the foreground of this panel;  and Serie 18: Vertumno y Pomona, Paño II, pg.125, Vertumno transformado en agricultor, which is a weaving of the central section of the complete design, without the side figures of Pomona and Vertumnus, it depicts the same small portico figures with Pomona on the right, the same caryatids and pedestals, and includes the foreground female figure with basket.

The complete panel of `Vertumnus as a Haymaker', attributed to the Brussels workshop of Willem de Pannemaker (active 1535-1578), after a cartoon attributed to Jan Cornelisz Vermeyen (1500-1559), with Cornelis Bos and Joos van Noevele, woven circa 1560, with gold and silver, silk and wool, from the Madrid series 17, within the framed border typed with the interlocking motifs within the widest band of the border, is illustrated in Antonio Domínguez Ortiz, Concha Herrero Carretero, José A. Godoy, Resplendence of the Spanish Monarchy, Renaissance Tapestries and Armor from the Patrimonio Nacional, The Metropolitan Museum of Art, Exhibition October 11^th, 1991 – January 5, 1992, Exhibition Catalogue, Abrams, NY, 1991, Concha Herrero Carretero Renaissance Tapestries from the Patrimonio Nacional, pp.25-94, Vertumnus and Pomona, pp.89-94.

See also Thomas Campbell, Tapestry in the Baroque, Threads of Splendour, Metropolitan Museum of Art Exhibition, New York, October 17, 2007-January 6, 2008; and at the Palacio Real, Madrid, March 6-June 1, 2007, Yale University Press 2002; Story of Vertumnus and Pomona; Vertumnus disguised as a haymaker, from designs by Pieter Coecke van Aelst, woven in workshop of Willem de Pannemaker, Brussels, circa 1545-50 (From Patrimonio Nacional, Palacio Real de Madrid) pp.8-9, fig. 11.  The same tapestry is illustrated in Göbel, Heinrich, Die Wandteppiche, 1923, Part I, Vol.ii.fig.103. Both being the complete panel in Patrimonio Nacional, Madrid (Serie 17: Paño I, 117, Vertumno transformado en agricultor).

See lot 55 for extended footnote and literature for lots 55-58.