View full screen - View 1 of Lot 91. A Flemish mythological tapestry, Brussels or Antwerp workshop, circa 1700-1720, possibly from the Story of Diana, after designs by Louis van Schoor and Pieter Spierinckx.
91

A Flemish mythological tapestry, Brussels or Antwerp workshop, circa 1700-1720, possibly from the Story of Diana, after designs by Louis van Schoor and Pieter Spierinckx

UK: Greenford Park Warehouse

Estimate:

12,000

to
- 18,000 GBP

A Flemish mythological tapestry, Brussels or Antwerp workshop, circa 1700-1720, possibly from the Story of Diana, after designs by Louis van Schoor and Pieter Spierinckx

A Flemish mythological tapestry, Brussels or Antwerp workshop, circa 1700-1720, possibly from the Story of Diana, after designs by Louis van Schoor and Pieter Spierinckx

Estimate:

12,000

to
- 18,000 GBP

Lot sold:

21,420

GBP

A Flemish mythological tapestry, Brussels or Antwerp workshop, 

circa 1700-1720, possibly from the Story of Diana, after designs by Louis van Schoor and Pieter Spierinckx


woven with figures in pursuit of a deer in a woodland setting, within a composite (possibly associated) four-sided exuberant floral and fruit filled border, incorporating maritime figures of the demi-god, Triton, in the lower corners, against a tobacco coloured ground

approximately 409cm high, 263cm wide

Tapestry has maintained good colour and overall is in good condition. Borders have been slightly folded (and sown) - this can easily be undone. Composition balanced visually. Striking border type and very decorative tapestry.

Dimensions with borders unfolded: 409 cm high, 263 cm wide

Dimensions with borders folded: 409 cm high, 251 cm wide.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

For an interesting comparable of a weaving of Venus and Adonis, Brussels or Antwerp workshop, circa 1680-1720, after designs by Peter Ijkens (1648-1698) and Peter Spierinckx (1635-1711), within a similar distinctive maritime border type, depicting figures of Triton (messenger of the sea) in the lower corners, albeit woven against a pale yellow ground and not identified to a particular designer or workshop, see Koller, Zurich, 23 March 2016, lot 1083. Identified by Professor Guy Delmarcel, this tapestry was part of a larger set, comprising of nine or ten tapestries, many of which were sold through auctions in the late 1970’s and early 1980’s, one of which was also sold through Koller, Zurich, 13 June 1985, lot 1312, and five were sold by Sotheby’s, Florence, 24 May 1979, lots 1398-1402. Two others are in a Genoese Private Collection. 

For discussion of Antwerp tapestries and their respective designers influence on Brussels weavings, see Guy Delmarcel, Flemish Tapestries, 1999, pp.255-265. For further discussion on Brussels and Oudenaarde weavings from the series of Diana, with small figures in a landscape, along with tapestries from Ovid’s Metamorphoses, with comparable compositional balance and a variation of borders of which some are especially elaborate and on a tobacco ground, comparable with the present tapestry, see Ingrid de Meuter and Martine Vanwelden, Tapisseries d’Audenarde du XVIe au XVIIIe siecle, 1999, pp.220-228.