A Flemish Old Testament Tapestry, Brussels workshop, from ‘The Story of Esther’ first half 16th century

a narrative tapestry woven with Esther being received by King Ahasuerus (Xerxes) of Persia, and her presence being acknowledged with the King, seated on his throne beneath a richly draped canopy with mirror, holding out the royal sceptre, with figures in attendance including Haman, and in the distance within the elaborate architectural setting, Mordecai is standing with Esther persuading her to plead with the king which she does in the foreground of the tapestry, woven within a four-sided border, the lower selvedge turned under, and woven with the Brussels town mark BB; unidentified designer and maker

Measurements: 332cm. across the top, and 332cm across the bottom edge, 346cm up the left side, 345cm up the right side. Partially lined with vertical strips of linen across the width, which alternate with exposed areas of the reverse of the tapestry. Lined around all edges. Across the top edge there are a few modern white material tabs for attachment of pole. The right hand side selvedge is very irregular (cut in past) and has a strip of later herringbone attached to stabilise. Recommend re-lined and Velcro attached for hanging purposes in the future. Original blue selvedge along lower edge is tucked under (by approximately 6cm). There are some minor horizontal splits, at colour changes, for example in the top right corner of the border, and the top left corner where the top edge of the main panel meets the border. There is some oxidisation to the browns, commensurate with age, fro example see the top right corner, edge of architrave of colonnade and to the tree trunk. There is some reweaving and repairs in areas. Different colouration and style to the top border. This is a striking tapestry, of balanced composition and colour and with charming details overall. Within a very decorative border. Evocative moralising tapestry. . In very good professionally restored condition. It would benefit from the lining being reattached as the borders were originally tucked behind. Recommend inspection. For detailed photographs contact Stephanie.douglas@sothebys.com
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Sixteenth century figural tapestries were the pre-eminent figurative art form in the courts of the monarchs of Europe, and also one of the most expensive. Brussels was a very important and influential centre to the tapestry industry, with historic guilds and the complex collaboration of cartoonists (from the Netherlands and Italy), entrepreneurial and competing merchants, established skilled weaving-merchant workshops, powerful and wealthy patrons and a developing and widening market. For centuries they were associated with prestige, power and wealth. Moralising and didactic allegorical series were woven in Brussels. The costumes and fashion reminiscent of the ceremonial proceedings at the court of the Dukes of Burgundy, continued to be portrayed with some contemporary elements by 1530. With the generic use of contemporary costume for all subjects, repeated figural types, the absence of inscriptions and attributes woven within the tapestries, the subjects are not always easily identified, and during the period of transition from the Gothic to the Renaissance, 15th to 16th century, the use of names, banderoles, initials, began to disappear. The visual richness represented by the complex patterns of clothing, the symbolism and allegory were appealing aspects of tapestries. The figures are still represented by an arrangement in tiers close to the picture plane, marking a moment in time, and woven with perspective in a more open architectural setting.

The narrative series with status were still those of Biblical and Classical subjects which presented the virtues which rulers should emulate, and included The Story of Esther and Ahaseurus, along with The Story of David and the Passion of Christ. The Old Testament subject of Esther and Ahasuerus, was a favourite theme in tapestries, particularly in the 15^th and 16th century. Various Royal Collections included this subject in series of tapestries in their collections, including that of Henry VIII, which had several sets listed the tapestry inventories of this collection. Esther in the act of pleading with the king for the Jewish people, was regarded by the Church as a prefiguration of the Virgin in her role of intercessor on the Day of Judgement. The Esther narrative illustrates the story of a pious and virtuous woman, and together with Judith and Roman literary heroines, such as Virginia and Lucretia, Esther was an example of civic and domestic virtue, and an admirable model for young patrician women.

Campbell, Thomas, Tapestry in the Renaissance, Art and Magnificence, Metropolitan Museum of Art Exhibition, March-June 2002, Yale University Press 2002, Bernaert van Orley and the Revolution in Netherlandish Tapestry Design, 1515-41, pp.287-303, for comprehensive discussion the changes in style in tapestry designs in this period, implemented by this highly influential Northern designer, and to dominate for the next half century.

Junquera de Vega, Paulina, Herrero Carretero, Concha, Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, illustrates several series of Brussels tapestries of the early 16^th century with comparable design elements and distinctive stem floral and fruiting border designs.

Wingfield Digby, G.F., The Tapestry Collection – Medieval and Renaissance, Victoria and Albert Museum, London 1980, Cat.nos.29&30, pp.42-.43, pls.50&51, for earlier 16^th century weavings of ‘Esther hearing of Haman’s plot’, and ‘Esther approaching Ahasuerus’.