Tapisserie pastorale, Pays-Bas méridionnaux, premier quart du XVIe siècle

en laine et soie, représentant la tonte des moutons et le retour de la chasse ; (restaurations)

Ancienne collection Clarence H. Mackay, vente Christie’s à Londres, 27 juillet 1939, lot 112

There is reweaving along both side vertical edges and across majority of the top edge. This includes the cream colored sky and within this area the two areas of blue sky appearing as clouds are inset patches. The original selvedge is present and partially turned under on the left side. There are small spot areas of repair and discoloration, for example vertically at the centre and to areas of clothing especially lady in hat and robe in the lower left corner. Small areas of reweaving to dark brown, commensurate with age and colour of dye of the dark browns. There are some large spot areas of reweaving horizontally across the centre of the tapestry probably around old fold lines as visible on the photograph. There is also an area of reweaving horizontally central left side extending from the waist of the central female figure through to the edge of the cloth of the seated male with the red hat, approximately 87cm long and approximately 12cm high. It is recommended that the tapestry be lined and the Velcro attached across the top for hanging.
"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."

Ce panneau présente des similitudes stylistiques, comprenant de légères variantes, avec un groupe de tapisseries, notamment les célèbres tentures de « La Dame à la licorne » (Musée Cluny, Paris) et de « La Chasse à la licorne » (Cloisters, New York). Ces tapisseries, comme la tenture de « L'Histoire de Carrabarra » (Château de Gaasbeek) sont à rapprocher de la production des lissiers de Tournai, Bruxelles, Bruges et Oudenaarde. Bien que les sujets ne sont pas toujours identifiables, leur composition met souvent en scène des groupes issus de différentes classes de la société médiévale, que ce soit des courtisans ou des paysans, sur fond de paysages à décor de mille-fleurs au premier plan.

Pour une tapisserie comparable, représentant notamment la cueillette des orangers, un détail souvent présent dans les tapisseries réalisées entre 1450 et 1525 et symbolisant le Paradis, l'Arbre de la connaissance du Bien et du Mal, ainsi que l'amour et la fertilité, voir un fragment de tapisserie pastorale illustrant  « La Cueillette des oranges », Pays-Bas méridionaux, vers 1500-1525 (ill. in Ebeltje Hartkamp-Jonxis et Hillie Smith, European Tapestries in the Rijksmuseum, Amsterdam, 2004, cat. n° 9. pp.47-48). La représentation des ramasseurs d’oranges s’inspire de gravures sur bois destinées à illustrer des Livres d'Heures, comme celles utilisées pour orner les marges du Livre d'Heures exécuté par Philippe Pigouchet à Paris en 1498 pour Simon Vostre (Bibliothèque Nationale de France).

Notre tapisserie est également à rapprocher d’une série de tapisseries pastorales allégoriques, probablement tournaisienne, vers 1510, dans le goût français (collection Burrell, Glasgow), représentant des personnages sur fond de paysage, en train de chasser, de cueillir des oranges ou de garder des moutons, et que l'on considère aujourd’hui comme une allégorie de la signature du contrat de mariage entre Claude, la fille de Louis XII et son cousin et successeur, François Ier, le 22 mai 1506. Un panneau notamment figure une scène de banquet (292 x 361 cm env.) qui, dans ce contexte allégorique, rappelle les fêtes du mariage de Louis XII et de sa deuxième épouse, Anne, duchesse de Bretagne, tandis qu’un autre panneau illustre une idylle rurale sur fond de cueillette de fruits, d'un format et décor très similaires aux nôtres.

The present panel shows stylistic figural similarities to a group of tapestries, with slight variations, which include the notable series of ‘The Lady with the Unicorn’ (Musée Cluny, Paris) and ‘The Hunt of the Unicorn ‘ (Cloisters, New York).  Tapestries including the series ‘The Story of Carrabarra’ (Gaasbeek Castle), are associated with a style used by weavers in Tournai, Brussels, Bruges and Oudenaarde. The subjects  often show the different social groups of society, of courtiers and country workers,  in landscape settings with mille-fleurs foregrounds, however the subjects are not always identifiable.

For a comparable tapestry with distinctive inclusion of picking fruit from the orange trees, often depicted in tapestries dating from 1450-1525, and symbolic of Paradise and the tree of good and evil, as well as love and fertility,  see a fragment of pastoral tapestry, depicting ‘Orange Picking’, Southern Netherlands, circa 1500-1525, see Ebeltje Hartkamp-Jonxis and Hillie Smith, European Tapestries in the Rijksmuseum, Amsterdam, 2004, Cat. No. 9. pp.47-48. The depicting of orange gatherers was inspired by woodcuts used to illustrate Books of Hours, such as that used in the marginal decoration of the Book of Hours printed by Philippe Pigouchet, Paris, 1498, for Simon Vostre (Bibliothèque National de France).

For a comparable series of allegorical pastoral tapestries, considered to be Tournai, circa 1510, in the French style (Burrell Collection, Glasgow), recorded as depicting figures in landscape settings, hunting, orange picking and sheep tending, and which is now considered to be an allegory of events which culminated on 22 May 1506, with the signing of a marriage contract between Louis XII’s daughter Claude and his cousin and successor, Francis I. A panel depicts a banquet scene (approx. 292 by 361cm), which in the allegorical context becomes the marriage celebrations of Louis XII and his second queen, Anne, Duchess of Brittany, and another recorded panel, depicting a ‘Rural Dalliance with Fruit Picking’, alludes to a courting couple and has a very similar format and background.