Fragment de tapisserie, Flandres, probablement Bruxelles, première moitié du XVIe siècle

en laine et soie, figurant des personnages agenouillés ; (réduite en hauteur et en largeur ; restaurations)

This tapestry panel has been partially lined with linen strips on all four edges and an extra horizontal hesian strip across the centre with later apricot colored selvedges. Panel generally faded colors overall and with surface spot marks and small areas of repair, see for example green drapery in the centre and spots to the face of the central elderly seating male figure. There are areas of reweaving, for example to center on left side depicting orange, green and yellow textile in background. There are two holes in the centre of the panel in the drapery of the elderly seating male figure with some hand repairs. The hesian on the reverse is visible on close inspection and is supporting these weak areas which are only visible on close inspection. Some areas of beautiful early weaving and drawing especially to the figures. Decorative panel, versatile size.
"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."

Dans les ateliers du XVIe siècle, le carton devenait, généralement après le premier tissage, la propriété du maître lissier et était conservé dans ses ateliers. Il avait ensuite la possibilité de l’utiliser pour d’autres tissages, et ce n’était pas inhabituel de voir des personnages, des groupes ou des compositions entières réapparaître dans d’autres tentures. En outre, ils pouvaient être combinés avec d’autres personnages pour représenter de nouveaux sujets. Compte tenu des costumes et des décors en général contemporains du tissage, de l'absence de récit ou d’inscriptions, l'interprétation du sujet n'est pas toujours aisée, si bien qu’il peut s'agir autant de sujets bibliques, classiques, mythologiques, allégoriques qu'historiques.

Ce fragment très finement tissé et représentant de façon particulièrement réaliste et sensible les visages, témoigne d’une grande habilité technique. Plusieurs fragments de scènes figuratives ont survécu, la plupart considérés comme provenant de plus grandes tapisseries, conservés dans des collections privées mais aussi et surtout dans les collections des musées d’Europe et d'Amérique du Nord. Pour des exemples de compositions avec des groupes de personnages multiples, voir les fragments de tapisserie flamande, « Le Triomphe des vertus » et « La Rédemption de l’Homme », probablement dessinés vers 1500 et tissés à Bruxelles vers 1515, voir Anna Bennett, Five Centuries of Tapestry, The Fine Art Museums of San Francisco, 1992, cat. n° 10 et 11, pp. 50-53, et pp. 54-77.

In the 16^th century workshops, generally after the first weaving, the cartoon became the property of the master weaver and was kept in the ateliers. It was therefore his prerogative to use it for further weavings, and it was not uncommon for figures, groups of figures and combinations to reappear in other weavings. In addition they could be used with other figures to represent new subjects. With the depiction of contemporary clothing and settings of the time, and the absence of narrative and inscriptions, the subject’s interpretation is not always so clear, as they could be Biblical, classical, mythological, allegorical or historical subjects. 

The present fragment is very finely woven with particularly realistic and sensitive depiction of the faces, executed with great technical skill. There are various surviving individual fragments of figural scenes, most considered to be from larger tapestries, found in private collections and especially in museum collections in Europe and North America. For examples of both smaller fragments and discussion of the influential larger multiple narrative tapestry series, representing the ‘Triumph of the Virtues’ and ‘Redemption of Man’, with their multiple figural groups, and which are considered to be Flemish, possible Brussels, designed circa 1500 and woven circa 1515, see Anna Bennett, Five Centuries of Tapestry, The Fine Art Museums of San Francisco, 1992, Cat. no. 10 & no. 11, pp.50-53, and pp.54-77.