`Spring', Portières des Dieux: The Seasons. An Allegorical Louis XV Tapestry, Gobelins, workshop of Jacques Neilson, after Claude III Audran circa 1760

Spring represented by the goddess Venus, seated on a cloud with two swans and a cupid, with the zodiac sign of Taurus above and pendant entablature with subsidiary sign of Aries,  the other plain entablature on this panel would usually depict the sign for Gemini, both with floral trophies below, set in elaborate architectural and scrollwork surround, within a four-sided blue and gold frame-pattern border with fleur-de-lys at the corners; reduced in height.



Venus. Possibly no.9 of 14 weavings of the seventh 'tenture' from the workshop of Jacques Neilson, started January 1757, completed 12 September 1758; see proceeding lots for the other tapestries in the series. 

Possibly part of the set of eight portières noted in Fenaille as purchased by Mr John Stewart from 'le Sr Neilson' in 1764;
Thomas Wildman, Newstead Abbey, Nottinghamshire;
William Frederick Webb, Newstead Abbey, thence by descent;
Trustees of the Pepper Arden Estate. Removed from Pepper Arden Hall, Yorkshire. Sold Sotheby's, 4th June 1971, lot 4 (The Seasons); together with the corresponding Elements (lot 5) from the same set, and a set of four Nouvelles lndes (lots 6-9) also from the Neilson workshop. The portières were then unsold but subsequently reoffered 16th November 1973, lots 48 and 49 Newstead Abbey, which had belonged to the Byrons since 1540, was bought by Thomas Wildman in 1817. A Visit to Sherwood Forest including the Abbeys of Newstead, Rufford and Welbeck published in 1850 refers to the Tapestry Dressing Room as 'hung with some of the most artistic and charming specimens of tapestry I ever saw in six divisions, representing Time (evidently Saturn with his scythe) Ceres and other Subjects'. After the death of Colonel Wildman in 1859 the Abbey was bought by William Frederick Webb and on his death in 1899 the Abbey passed to his second daughter Geraldine, wife of Lt Gen Sir Herbert Chermside. The Webb family were also one of the principal landowners and lords of the manor in the parish of South Cowton, Yorkshire, containing Pepper Arden Hall, and after the death of his wife in 1910 General Chermside moved to Pepper Arden taking with him some of the Newstead Abbey heirlooms including the Gobelins tapestries. General Chermside died in 1929 when Pepper Arden and its contents passed to the Gatty family including the tapestries;
Dario Boccara Collection, Paris;
Collection of Barbara Johnson from 1985 and 1993 (`Autumn' panel)

Maurice Fenaille, Etat général des Tapisseries de la Manufacture des Gobelins, 1600-1900, Paris, 1904, Vol.III (pp.1-61) 'Les Portières des Dieux, d'après Claude Audran le Jeune'. The demands on the royal exchequer caused by the War of the League of Augsburg ( 1688-1697) had led to the closure of the Gobelins in 1694. The Portières des Dieux was the first series of tapestries to be woven after the reopening of the manufactory in 1699. The set of eight comprised the Four Seasons and the Four Elements represented by the relevant gods and goddesses set in graceful porticos with appropriate attributes. The general composition was the work of Claude III Audran (1658-1734), not Claude Audran le Jeune (1639-1684) as given in Fenaille, while Louis de Boulogne and Michel Corneille designed the figures of the gods and accompanying children. The various birds and animals were probably the work of Francois Desportes.

Fenaille records eight successive weavings (tentures) of this popular series from about 1700 to 1789 including some 235 recorded pieces, of which 106 were woven for the seventh tenture (1740-1773) listed in Fenaille (opcit.pg.35) as: VII. Nouvelle Serie de Portières des Dieux, en basse lisse, sans or, sur fonds de différentes couleurs. The border used on this series was the third design of Pierre-Josse Perrot consisting of a blue and gold flowerhead trellis frame with palmettes or fleur-de-lys in the corners, The only recorded complete set of eight portières sold to a private collector which would seem to coincide with the present set are those purchased by a Mr John Stewart in 1764, apparently acting for an unknown 'grand seigneur anglais' (Fenaille, Vol.IV, p.58, referring to the Nouvelles Indes). Unfortunately the tapestries have lost their outer selvedges with the weaver's mark and date which would have confirmed this. Fenaille (opcit.pg.45) notes 'vendu le dit jour à M.Stuard trois pièces des Nouvelles Indes, basse lisse, et huit portières (as named) du cours de 2 a.6 sur la hauteur de 3 a.1 pour  la somme de 16.085 #' of which the eight portières were noted at 8.842# 19.3.

The present tapestries have previously been reduced in height by the removal of the bottom section below the fan-shaped bracket. This consisted of a central fountain flanked by infant satyrs or children.

The original height of the tapestries would have been about 3m 40 as in a similar set of four Portières des Dieux including three of the Seasons and one Element, sold Christie's, 8th April, 1976, lot 109.

Jacqueline Boccara, Ames de laine et de soie, Édition d'art Monelle Hayot, 1988, pp.102-104, illustrates this set of four tapestries, respective provenances: Collection Boccara and Collection Barbara Johnson.

Colour match is fairly accurate tonally. Just lighter in reality and more attractive.The yellow is not as bright in tone. Tapestry is lined with thick cotton lining, which is detached along the lower edge. Velcro attached across the top for hanging purposes. Recommend re-lining. There is some fading overall and some discolouration. This panel is in stable, professionally restored and rewoven condition. For example of area of rewoven repair, see the top section of the yellow ground, below the border, which shows two vertical strips of later rewoven repair, visible in the photograph. The area between the pairs of vertical structural supports flanking the figure, is a combination of brown and yellow, and the brown shows the warp threads (white) in places, as visible in the detail photograph in particular, which is commensurate with the brown dye. The area of yellow in these areas, running up through the pendant swags and blue ribbon, is also later reweaving. Some wear to light areas of highlights, for example to doves, commensurate with age. The corners have been repaired and rewoven, and the top corners are of different colouration to matching designed lower corners. In the borders there are some minor splits horizontally in areas of the colour changes in the borders, which can easily be repaired. The tapestry has previously been reduced in height, with the removal of the bottom section below the fan-shaped bracket. The lozenge areas to the corners are later reweaving for example. This consisted of a central fountain flanked by infant satyrs or children. The original height of the tapestries would have been around 340cm. It is finely woven with charming detailing. It is a balanced panel in both colour and composition, and in addition is of a good size.
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