An Early Renaissance Classical Narrative Tapestry, Southern Netherlands, probably Brussels, first quarter 16th century

woven with narrative scenes probably from the 'Foundation of Rome, with figures in contemporary costume, with an inscription within the canopy REX.LATHINVS  (King Latinus), with alluding to figures King Latinus marrying Aeneas and Lavinia, with further scenes in the corners, with the spurned Turnus killing Latinus, and woven in the hems of two of the robes with illegible Medieval text, ....vstvrivs and bsytleonaeir; all within a four-sided narrow floral border entwined with ribbon, incorporating irises in each lower corner, against a blue ground (Livy: Aeneid, Books 7-12) 

Acquired for the private collection of Manuel Pérez de Guzmán y Carrión, VII Marqués de Morbecq and Maria de las Mercedes Carrión y Santa Marina, Marquise de Morbecq, Madrid, mid 20^th century (Collectors and patrons of Marc du Plantier b.1901-d.1975 furniture),
thence by descent to Juan Manuel Pérez de Guzmán y Carrión, VIII Marqués de Morbecq

Please note that the colours of the tapestry photograph in the catalogue and on-line are brighter than the piece is in reality. Tapestry is lined in vertical strips with linen and covered overall with later blue textile.There is a hessian strip across the top with screw fasteners and rope. It is recommended that it is cleaned, relined and has Velcro attached for hanging purposes in the future. On the reverse the original colours of the weave are visible in sections between the alternating strips of linen. The surface of the tapestry needs professional cleaning. It is especially dirty along the lower edge. There is discolouration to the surface overall. For example faces and body colour faded colours, which is commensurate with age. There are still the subtle shades of blues, salmon and yellow present, for example across the top edge. Generally there are repairs and areas of reweaving in areas. Some are small areas of repair for example to areas within browns (for examples see bear top right figure) or light highlights (see clothing). Examples are rewoven repairs to the brown edging highlights which stand proud of the overall surface and have as a result caught more of the atmospheric dirt over time. Some of the brown lettering has also been defined with repairs. It is commensurate with the brown dye and mordants used that these areas can oxidise and have been redone. There are some 19th century rewoven areas, in sections in the centre of the right side, for example across the shoulders of the male figure standing against the border far right, and within his sleeve area (visible in the photograph). There is a mustard coloured area of repair between the faces of the two standing figures in the left corner (also visible in the photograph). There are some minor areas of weakness with some warps showing, for example to light highlight sections on robes across the foreground, especially to the vertical folds in blue robe in lower left corner, near the elaborate sword. There are some areas of repair to these light areas. The upper half of the tapestry is in better overall condition than the lower half. The border is original to the panel. The light coloured flowers are slightly discoloured and the lower border has more repairs than the other borders. Lower border is dirtier than the other borders. This tapestry will benefit from being professionally cleaned as the colours are still present. This is a increasingly rare survivor of an early 16th century tapestry, in it's original border. There is evidence of proficient weaving technique (see the faces) and charming and descriptive compositional details (for example to the canopy, clothing and accessories and landscape).
"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.
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The subject is most probably depicting one of the ancient classical tales of the birth and generations of the founders of the dynasties, and birth of the gods, taken from classical sources of Hesiod's Theogany, Homer, Virgil's Aeneid, Livy's Foundation of Rome, and Cato (which was a particularly popular source in the Medieval period).

With Rex Lathinus or Rex Cathinus alluding to either the recorded dynasties in the stories of the Foundation of Rome, with King Latinus and his distanct descendants Romulus and Remus, or the tales of the Foundation of Thebes, with King Cadmus and his descendant Oedipus. The narrative tapestries allude to episodes that befall the dynasties.  

The composition could be interpreted as the 'Foundation of the Kingdom of Thebes', and legends from the houses of Cadmus and his direct descendant Oedipus, the central scene depicting the marriage of King Cadmus to Harmonia attended by Gods and Goddesses, with figures in contemporary costume, with an inscription within the canopy REX.CATHINVS, with futher scenes in the corners, including `Cadmus consulting the Oracle' in the top right corner, and  'Oedipus attacking a group and an elderly man' (not realising it is his father).

Very little is known of the artists and cartoonist involved in the production.  With the lack of documentary evidence, clear names either for the subject, the patron, or for those involved in the production, factors for consideration are the varied design influences. These were complex and involved the painters as designer, interpretations by cartoonists and the weavers, and often the collaboration of the artists within the towns and workshops. These factors, along with the adaption of design elements, especially from the well known series, results in treating undocumented attributions with caution.

There are works by the recorded designers and cartoonists which have not resulted in attributions to specific tapestry series, due to the sharing of the aforementioned formal motifs by the industry. Although this tapestry cannot be attributed with certainty to a designer, cartoonist or a specific workshop, this does not detract from the importance of it, with its fine weave, transitional composition, balanced colouring, distinctive border and importantly its survival. For of the thousands of tapestries produced during this extraordinary period of tapestry production, a small percentage still exist.

Related Literature:

Thomas Campbell, Tapestry in the Renaissance, Art and Magnificence, Metropolitan Museum of Art Exhibition, March-June 2002, Yale University Press, 2002, Netherlandish Production and the Rise of Brussels, 1480-1515, pp.130-185, Stylistic and technical development of Brussels production, pg.128-133., fig.61, The discovery of the True Cross, Brussels, cira 1510, for comprehensive discussion of tapestries of this period;
Adolph Cavallo, Medieval Tapestries in the Metropolitan Museum of Art, 1993, pp.544-551, Cat.no.46, Perseus Rescues Andromeda, from the Story of Perseus, Southern Netherlands, 1515-1525, of similar compositional style, background landscape and buildings and border type;
Delmarcel, Guy, Flemish Tapestries, London, 1999, Chp. II, The Renaissance, The Renaisssance in the Netherlands, pp.95-118, fig, pg.102, Romulus on the Throne of Rome;
Göbel, H., Die Wandteppiche, 1923-1934, Part I, Vol.i, pp.140-141;
Göbel, H., Die Wandteppiche, 1923, Part I, Vol.ii, fig.107, The Story of Aeneas, The enterment of Turnus, Brussels, first third 16^th century, Spanish State Property;
Marillier, H.C., Tapestries at Hampton Court Palace, HMSO, 1962, Dido and Aeneas, pp.24-26, pl.22-27, Brussels, circa 1530, with metal-thread, for compositional comparison albeit woven later and in a very different border; and pp.23-24, pl.27, for a Gryphon allegory tapestry, of earlier date, Flemish, circa 1500, which has a very similar border to the present tapestry, and a more comparable early style;
Junquera de Vega, Paulina, Herrero Carretero, Concha, Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, Vol. I, Siglio XVI, Serie 14, Fundacion de Roma, pp.92-99, Paño I-VI.