A Floral Vase Still Life Tapestry, probably La Marche (Felletin, Aubusson) mid 17th century

woven with an exuberant vase of flowers, supported by crossed palms, and flanked by two side columns of smaller flowering vases with crossed palms, against a pale yellow ground, within a later narrow bead and reel border

Colours not as yellow in hue. More green in appearance and less blue overall. The colours are faded but uniformly. Tapestry is lined, with old hoops. Recommended that Velcro should be added for hanging purposes in the future. There are some repairs in areas. For example to the browns in the centre and to the very narrow inner border, as visible in the photograph, where the areas have oxidised. There are some areas of repair visible as a light salmon colour, for example to some of petals of flowers. There is a horizontal line across the centre, which is probably repaired old fold damage. This does not detract from the overall balanced appearance. Charming panel, evocative of the Flemish Portico Tapestries with vases of flowers within architectural settings. Striking and decorative and in good and stable condition.
"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."

For two comparable tapestries, with compositions which incorporate the central blue vase and golden mounts from which an exuberant bunch of flowers eminates and is distinctly flanked by the crossed, ribbon bound palm leaves, and surrounded by rows of smaller flower filled vases and crossed palms, see The Eclectic Eye: Five Centuries of Art from the Galerie Yves Mikaeloff, Christie’s, New York, 21^st May 1997, lots 317 and 324 respectively. The first cited example (lot 317) was woven against a walnut coloured ground, and was lacking a border (250cm. high, 197cm. wide). The later example (lot 324; 330cm. high, 245cm. wide), was of very similar composition to the present panel, with a single vertical column of the smaller motifs on each side of the central vase of flowers woven against a now pale cream coloured ground. In addition it has an elaborate four-sided border with strapwork incorporating fruiting groups and small birds, with openwork baskets in each corner filled with flowers including tulips and the crown imperial, against a mustard ground, and with a further entrelacouter border.

The intense interest in gardens in the 17th century extended from the physical elaboration of garden designs, to the collections of plants within them and to their evocation in embroidered and woven panels. Designers had access to numerous printed sources for inspiration, including natural history compilations. Many sources of which were Continental, French, German and Flemish and dating from the late 16^th century, for example Gerard de Jode’s, Thesaurus Sacrarum Historiarum Veteris Tesatmenti, Antwerp, 1579 & 1585.  European printers were all influenced by each other. Albums and pattern books were observed and used for inspiration throughout the 17^th century, and noteable examples are Crispin de Passe’s, Hortus Floridus, 1614/1615 with its simplified outlines of flowers. Many new exotic flowers arrived in Europe at the beginning of the 17^th century, including the crown imperial, crocus, hyacinth, narcissi, lily and tulip, several of which arrived into European gardens as gifts.

Literature:

Guiffrey, Jules, Inventaire du Mobilier de la Couronne sous Louis XIV, Paris, 1885, Vol. I. for reference to a series of

Potter, Jennifer, Strange Blooms, The curious lives and adventures of John Tradescants, Atlantic Books, London, 2007, Chp. 3, To the Low Countries, pp.25-39, discusses the specific encounters in the Netherlands in the pursuit of horticultural knowledge and the politcial situation at the end of the 16^th century into 17^th century.

Wells-Cole, Anthony, Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558-1625, Yale University Press, 1997, Part II, Chp.5, The Influence of Netherlandish Prints – Ornament Prints, and Chp. 14, Embroidery, pp.235-300.

For detailed discussion regarding the attribution of this tapestry type being part of a rare group of floral vase tapestries, with distinctive crossed palms, from La  Marche (Felletin, Aubusson), circa 1620-1635, see Guy Delmarcel, Nicole de Reyniès & Wendy Hefford, The Toms Collection Tapestries– 16^th to 19^th centuries, Ed. Giselle Eberhard Cotton, Foundation Toms Pauli, Lausanne, Verlag Niggli AG, Zurich, 2010, Chp. II, The French Tapestries, pp.159-231, Cat. 65, pp.204-207. The example in the Toms Collection is very similar to the present example, and has the same bead-and reel border.