THE RETURN OF ORESTES AND IPHIGENIA TO AULIS', A MYTHOLOGICAL TAPESTRY FROM THE STORY OF ORESTES, NORTHERN NETHERLANDS, WORKSHOP OF PIETER DE CRACHT, GOUDA OR SCHOONHAVEN, AFTER DESIGNS BY SALOMON DE BRAIJ CIRCA 1648-1662 |

woven depicting the triumphal arrival of Iphigenia, Orestes and Pylades and welcome from the inhabitants of Aulis, with the statue of the goddess Artemis being carried aloft in the procession, and the masts of ships in the background; reduced in width and height, lacking border  

Measurements: 245.5cm up the left side, 245cm up the right side, 346cm across the top, 343cm across the bottom. Tapestry is reduced in width and height. There is a later machine woven selvedge on all four sides. There is a cotton lining on the reverse, with herringbone strip across the top edge with small metal hoops. It is recommended that Velcro should be added to the top edge for hanging purposes in the future. The colours are generally faded overall, with some discolouration in areas, especially to the sky, in the left corner. There are still shades of the original blue to other areas of the sky. There are some areas of repair and reweaving. Small areas of old reweaving along the lower edge, and within the areas of brown in the right hand corner, and in small areas of the hair for example. There is an area of light repair to the area above the hand and head on the far left edge, which has some horizontal splits, held in place by stitching. Repairs include some consolidation stitching, visible on close inspection as the vertical lines and white stitches, which are in the areas of light highlights which are weaker structurally, which is commensurate with age; see for example the yellow highlights to the clothing generally and especially the dress on the far right edge (where the weft threads are lacking, the warp threads are visible, as is the linen interlining behind). This tapestry is in professionally stabilised condition. Now versatile size, balanced colour and composition. Very decorative tapestry.
"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."

De Cracht, originally from Oudenaarde had workshops in Gouda and Schoonhoven, and not only traded weavings of the series but also had them woven in his own workshop. He worked with the designer Salomon de Braij (1597-1664), and the painters that worked in the Oranjezaal. Of the number of Iphigenia sets known, commissioned for the German and Swedish nobility there is a set of five in the Rijksmuseum, Amsterdam, including a weaving of the present subject, (Inv.BK-19550-100-E). The series are woven within a distinctive Solomonic columned architectural border type, originally designed by Peter Paul Rubens in his Apotheosis of the Eucharist (1625-1628), and which was interpreted with variations by the Dutch weavers, and which is lacking on the present weaving. For comprehensive discussion of the Greek and Roman series woven in the Northern Netherlands, including the series of The Story of Iphigenia and Orestes’ (Story of Atrides), and the influence of Karel van Mander II, see Ebeltje Hartkamp-Jonxis and Hillie Smith, European Tapestries in the Rijksmuseum, Amsterdam, 2004, pp.175-180, & 62a-e, pp.241-250.