`Kermesse', A Flemish `Teniers' tapestry, after David Teniers the Younger, Brussels, workshop of Jasper Van Der Borcht (signed himself `A Castro') and Jeroen Le Clerc, late 17th Century,

woven in wool and silk, within a four sided acanthus and floral border with mask clasp corners, the top border centred with coat of arms of Filippo Archinto of Milan (1644-1712) and woven motto Lavs et Lavrvs Archintaea ('Praise and Glory to Archinto'), in addition the tapestry panel includes the woven Latin inscription Teniers. Seriess. II. Leopoldo. Archidvci Ioanni Avstriaco Pictor Famliais et Vtriq. Acvbicvlis Pinx., lower right corner of tapestry, border selvedges without town or weaver's marks

Commissioned for Filippo Archinto of Milan (1644—1712), who in 1688 married Camilla, daughter of Marchese, Girolamo Stampa and Anna Visconti.
Complete set of eight recorded on the market in 1861, wholly or in part having formerly belonged initially to Lord Overstone (d.1883), and then to his daughter and heir, Lady Wantage.
(The other half of the set formerly belonging to the Earl of Crawford and Balcarres, was sold at Christie's, 14^th March 1929, and in 1932, was recorded in the possession of Messrs. P. W. French and Co., New York).
Present four tapestries were purchased from Duveen (Antique Dealers) in 1884, by Edward Cecil Guinness, 1^st Earl of Iveagh (memorandum book kept by the 1st Earl of Iveagh, notes this date and purchase from the dealers as `including six pieces after Teniers').
Thence by descent, Farmleigh, Dublin, Ireland.

Delmarcel, Guy, Flemish Tapestries, London, 1999, pp.352-361, for a comprehensive discussion of the `Teniers' Tapestries.
Heffernan, Mary and Cummins, Julia, Iveagh Pictures, Edward Cecil Guiness, 1^st Earl of Iveagh, Exhibition Catalogue, 5^th November – 23^rd December 2009, Dublin, 2009, pp.92-93, Cat. 27. Four Brussels Tapestries, details of each tapestry, and general photograph hanging in situ.
Kelly, Catherine and McCarthy, Patricia, Farmleigh, Dublin, 2001, pg.36.
H. C. Marillier, Handbook to the Teniers Tapestries, London, 1932, pp.3-10, illustration of Iveagh tapestries, Kermesse, pl. 1, Gipsy Fortune Teller, pl.22, comparable tapestry panels for the series include Return from the Harvest, pl.16a, and Milking Scene, pl.18a, both without borders.

Colours of tapestry in reality are crisper and more defined. Tonally colours fairly accurate match. It is not as yellow and not as subdued in reality. Borders brighter and more attractive. There is an attractive range of colours, from the greens of foliage of trees, pale blue of sky and oranges, reds and blues of the clothing. There are some minor horizontal splits (in the direction of the weave), some of which are in areas of colour changes, for example in section of the chimney, and the thatch of roof. Others in the areas of the light coloured highlights. For example some minor splits in the foreground, in area underneath the stool, centre foreground, and near the dog, far right, and are of light coloured grass on the left side underneath the figures in the background. Some areas where colour changes have been stitched together, replacing original small stitches, for example in the border). There are some white vertical applied stitches showing (on close inspection) in vertical lines (seven lines) from the top of the tapestry down, where the lining has been attached. Sky generally stable condition and good colouring. There are some small repairs and areas of reweaving in areas. There are some metal thread highlights (now tarnished) to the drum in the foreground. Generally good overall condition. Tucked underneath the old lining there is just evidence of the Brussels Brabant town mark and shield. This tapestry is lined and has Velcro attached across the top for hanging. It is finely woven and has some charming details. It is a balanced composition and with balanced colour overall. It is unusual to still have the subtle range of colours still present in this tapestry, for example the blue in sky and the oranges and pale pinks. . This is a very decorative early Tenier's tapestry from renowned Brussels workshop, of very fine weave and great attention to detail. Importantly, Jasper (or Gaspard) van der Borcht workshop was involved in the production of this `Teniers' inspired series of tapestries which are amongst the first woven, the designs of this series served as the inspiration and which influenced the Teniers tapestries that followed.
"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."

Generally known as `Teniers' Tapestries, the extensive series were inspired by the paintings of David II Teniers (1610-1690) and depict everyday scenes of country life and commercial activities. They were immensely popular commissions from the late seventeenth century through to the middle of the eighteenth century. The `Teniers' tapestries were woven by many Brussels weavers and also in other centres such as Lille, Oudenaarde, Beauvais and Madrid. 

Importantly, Jasper (or Gaspard) van der Borcht and Jeroen le Clerc collaborated in the production of the `Teniers' inspired series of tapestries which are amongst the first woven.  They worked under the patronage of the Elector Maximilian Emmanuel of Bavaria and other German and Austrian Princes. Teniers tapestries were woven by van der Borcht and Le Clerc workshop, with one of the other's name woven in them, for the ex-Crown Prince of Bavaria, Crown Prince Rupprecht (with borders, woven circa 1693, now in the `Wittelsbacher Ausgleichfonds', Munich) and the Grand Duke of Baden. Others of the same workshop origin with variation in design are recorded from the collections of The Cathedral at Santiago, the Bowes Museum, Barnard Castle, Elveden, Wolterton and other English country houses.

This tapestry together with the three proceeding lots, was initially a set of eight which included the scenes of the Kermesse, Return from Harvest, Milking Scene, Gipsy Fortune Telling, Fish Quay, Winter Scene (Skating and Pig-Killing), Sportsmen Resting and Summer (Pastoral Scene), and were woven within a four-sided border with exuberant scrolling acanthus leaves and the top border centred with the coat-of-arms of Filippo Archinto of Milan, with the woven motto Lavs et Lavrvs Archintaea ('Praise and Glory to Archinto'). 

Filippo Archinto (b. Milan, 1644), studied law and received various honours during this lifetime. In 1688 he married, Camilla, the only daughter of Marchese Girolamo Stampa and Anna Visconti, enriching his already substantial legacy of land, funds, houses, and art collections. In 1677 Charles II of Spain sent him as ambassador to the Electors of the Empire, to Brussels as a member of the political-military government in charge of the Spanish Netherlands, and in 1678 he was sent as ambassador to the Emperor Leopold in Vienna. Then in 1681 he returned briefly to Flanders before travelling back to live in various Italian cities until his death in 1712 in Pavia, on which he left his property to his son and heir Charles. Archinto was amongst many aristocrats and royals who commissioned tapestries when based in the Spanish Netherlands. The present tapestry bears the coat of arms of Archinto and his wife (Stampa and Visconti), therefore dating it to after 1688.

To show the dedication to David II Teniers, court painter to the Archduke Leopold Wilhelm, the following inscription was incorporated into some of their tapestry designs, Teniers.Seriess.II.Leopoldo.Archidvci Ioanni Avstriaco Pictor Famliais et Vtriq.Acvbicvlis Pinx.

Variants of the Latin inscription are found on examples of the tapestries from the workshop of Jasper van der Borcht and Jeroen le Clerc, but not on later weavings. For examples from the first cartoons and from this specific commission, the tapestry of the `Fish Quay, includes the same Latin inscription as the offered tapestry of the Kermesse, see Marillier, Handbook to the Teniers Tapestries, London, 1932, pl.8, from the Earl of Crawford and Balcarres, and another example of the subject, without an armorial coat-of-arms, which was offered at Sotheby's London, 20^th May 1994, lot 5.

The present `Kermesse' panel is illustrated in Marillier, opcit. pl. 1.

The Earl of Crawford and Balcarres is recorded as having had the remaining tapestries from the Archinto series, depicting The Fish Quay, Winter Scene (Skating and Pig-Killing), Sportsmen Resting and Summer (Pastoral Scene), all of which are illustrated in Marillier, ibid. pl.20, 25 & 39a. Six are recorded in the Kunstgewerbemuseum, Dresden, which include the same Latin inscription in the masonry depicted in the Fish Quay.  

The van der Borcht family were important Brussels weavers active from the late 17^th century through to late 18^th century.  Jasper Van Der Borcht (I.V.D. Borcht, A Castro) was privileged in 1684, d. 1742. He signed himself `A Castro' to distinguish himself from his father, Jacob. Between 1703 and 1707, Jasper is recorded as having had five looms in operation. Jasper's son Jan-Frans van der Borght (F.V.D.Borght) d. 1774, continued the workshop with his brother Peter until his death in 1763, they wove the Teniers subjects derived after the cartoons by their father and his colleague Jeroen Le Clerc (d.1722).  Judocus de Vos (1661-1734) is thought to have obtained the Teniers cartoons from Jacob van der Borcht and Le Clerc and reproduced and altered them in various weavings. From the initial cartoons, other subjects were added over time.

Jeroen Le Clerc (d. 1722) and Jasper van der Borght (d. 1742), are known to have collaborated on several large series, most notably including the The Siege of Tunis and The Arts of War Series, designed by Lambert de Hondt, and woven in seven sets including those for The Elector Maximilian-Emmanuel of Bavaria (d. 1726), the Margrave Louis of Baden, King William III of England, and the Duke of Marlborough and his generals.