woven in silk and wool, with groups of figures in elaborately represented contemporary fashion and finery, probably depicting The Story of David, (II Samuel 11), representing King David enthroned within his court seated underneath an elaborate tasselled canopy with a hanging chamber clock, with seated courtiers and standing messenger before him, with onlookers from beyond the colonnade with Solomonic column supports and from balconies in the background; within a four-sided border with dense stems of flowers, foliage and fruit, bound by ribbon in the side borders, and held by ribbon tied to hoops in the upper and lower borders, against a dark blue ground, each corner with a compartmentalised golden lion mask within a white ribbon cartouche against an azure blue ground, all within further narrow outer and inner bands of red and yellow, within a later dark blue outer selvedge

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 (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

The tapestry has been professionally cleaned and restored in the past, and is in stable condition. It is woven with wool and silk and there is no metal-thread used in this tapestry. The colour overall is vibrant and balanced. The charm of the detailing of the border framing the composition to wonderful overall effect. The lion masks in the corners of the border are distinctive and very decorative. The colour is faded in some areas more than others, commensurate with age and colours of wool used, for example to the faces and hands and some of areas of light colouration, such as collars and some of clothing. There is a rewoven rectangular-shaped edged area (16cm. high, 7cm. wide) in yellow and green to the left of the face of seated figure in blue robe with his back to us, centre of foreground. There are areas of small repair in some areas, for example to the light highlights to columns and some of costume, and to the facial features of faces; some of which are later hand repairs and could be removed and redone by a professional conservator. There are areas of brown which have oxidised (commensurate with age and mordants used for the dye) and have been repaired /and or rewoven. New brown areas are present around the edging of robes, and on the shoulder of central elderly figure, to shoes and stockings and hair and beards in some areas. The tapestry is partially lined on the reverse with natural coloured linen around the four edges and then in three narrow vertical linen strips (between 27cm - 34cm. wide) alternating with four wider strips which are not lined and reveal the tapestry behind (betweeen 50cm and 72cm wide). There is rope attached across the top edge in gentle loops for hanging. It is recommended that Velcro should be attached across the top for hanging purposes in the future. There is a small attached label in the lower right corner with handwritten numbers and letters in ink: No. 141 VA, 8101906, 200,000 pts. The border at the top and bottom of the tapestry is approximately 24cm. high and the side borders are approximately 20/21cm. wide. The outer selvedge is later across the top and the bottom, and down the left side. Small vertical section in lower corner of left side which is original. On the right side the inside of the selvedge is original and the outside has been repaired. This is a finely woven, technically skilled and beautifully detailed weaving. The composition and colour are dynamic, balanced, vibrant and appealing. This is an evocative tapestry of it's genre.
"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."

This tapestry is a wonderfully evocative tapestry of the transition period from the Northern Gothic style into the Renaissance. Sixteenth century figural tapestries were the preeminent 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. 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 David. The visual richness represented by the complex patterns of clothing, the symbolism and allegory were appealing aspects of tapestries. With this tapestry being compositionally transitional there are still a large number of figures, arranged in tiers close to the picture plane, marking a moment in time, and woven with perspective in a more open architectural setting. This particular tapestry is a rare example of a panel from a weaving of a series with this beautiful border with the unusual lion masks in each corner. Many series have become separated over the last 480-500 years since they were woven. It is therefore of historical interest that this piece has appeared back onto the tapestry market, in which it played an important part when originally woven.  

Tapestry weaving in Brussels in the Sixteenth Century

At the transition of the 15th/16th century, and a move into the Renaissance from the Gothic, the two different styles coexisted in harmony in using the pictorial tradition, the graphic developments and the influences of the Italian fifteenth century and later. Italian `Raphael school' designs revolutionised high quality tapestry production, but they were not used in isolation, but taken up by Brussels designers and combined with traditional Netherlandish devices, such as multiple narratives, extensive patterning and attention to landscapes. The transitional – Pre-Renaissance period in the tapestry industry designed compositions that used a large number of figures in relief across the tapestry, set within open landscape and architectural settings, with emphasis on the costume, visual richness of details and there was a somewhat limited sense of movement and creation of illusion in subtle rhetoric gestures. It was a formula that suited the sophistication of requirements, the scale and nature of the medium.  Crowding figures allowed cartoonists to adapt and re-use figures, which was an advantage to meet the fashion and demands of the time and the costs of production, with interpretations varying in the different qualities of the series woven, with and without metal-thread. It was a formula used amongst the cartoonists and weavers, and resulted in the style continuing during the first decades of the 16^th century.  The crowding of figures allowed for adaption of figures from one tapestry design to the other and one subject to another, with all dressed in conಞtemporary fashion, whether mythological, allegorical, Biblical, classical or historical subjects.

In Flanders this period coincides with the Regency of Margaret of Austria (b.1480, d.1530) as her father Emperor Maximilian named her governor of the Habsburg Netherlands between 1507-1515, 1517-1530) as guardian of her young nephew Charles (the future Charles V, Holy Roman Emperor). Margaret was a great patron of the arts, with painters in her Mechelen based court and she exercised important influence over the development of the Netherland tapestry industry during a crucial phase in its transition. Other European Royal patrons included Charles V, Holy Roman Emperor (1500-1558) and Isabella, Holy Roman Empress (1503-1539), Henry VIII of England (1491-1547), and Francis I of France (1494-1547) and his consort Duchess of Brittany. Brussels weavers benefitted from patronage in the early 16^th century, especially the important workshops of Pieter de Pannemaker (provided David and Bathsheba set to Maximilian I in 1517), and Pieter van Aelst (1502-1550), whose name is woven within some tapestries including a panel from Story of David and Bathsheba, Sigmaringen Castle) and the court painters, Jan van Roome, and then Bernard van Orley were important tapestry designers. Berna✃ert van Orley (1488-1541), was a painter who was revolutionising tapestry design, and as a result of his strong influence in the profession many of the tapestries designed during this particularl𝐆y productive period show his influence.

Moralising and didactic allegorical series were woven in Brussels, including The Twelve Ages of Man, circa 1515 (Metropolitan Museum of Art) and many of these subjects continued beyond the change in style. The costumes and fashion reminiscent of 𓂃the 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, and as represented here, the use of names, banderoles, initials, began to disappear.

Tapestry Series and subjects: The Story of David and Bathsheba

Along with tapestry series of the subject depicting the Passion of Christ, and The Story of Esther, the Biblical Story of David and Bathsheba was very popular and King David served as an influential figure for the Renaissance Ruler, as King David was anointed by the prophet Samuel, had the gift of prophecy and repented after he has sinned, was warrior, ruler and statesman. He was important in Christian art through the Book of Matthew, for not being a prefiguration of Christ, but being a direct ancestor.  The subject of The Story of David was one of the most popular series woven in Brussels in the first half 16^th century, having been a subject used from the 14th century. Other tapestries of this subject are a group in the Royal Collection, Madrid, originally owned by King Manuel I of Portugal (recorded in 1505), a set for King Henry VIII of England, and another hung in Toledo Cathedral by Cardinal Quiroga in 1580, of which all that remains today is the first panel, the Entry of the Ark of the Covenant into Jerusalem.

There are two series of the early 16^th century to consider in relation to the present tapestry and the comparables cited, one being the important and comprehensive early Renaissance series of ten tapestries from The Story of David, (Musée National de la Renaissance, Ecouen), after Jan van Roome, circa 1510-1515, possibly woven through collaboration of Brussels weavers, including Pierre d'Enhien and Pierre van Aelst and Pierre de Pannemaker (see Delmarcel, 1976). This series influenced future weavings of the subject.  Another series to be considered due to similarities in style is the series of The Foundation of Rome, designed by Bernaert van Orl🦩ey, woven Brussels, circa 1530 (Patrimonio Nacional, Madrid) with a predominant foreground scene and incorporation of elaborate architecture, woven with subject narrative banderoles in the border (see de Vega, 1986).

Comparable tapestries (compositions and border type)

The figural composition of the panel offered shows direct similarities to a tapestry from The Story of David and Bathsheba, which was part of a set of six tapestries from Milton Abbey, Dorset, sold at Sotheby’s, London, 11th December 1987, lots 165-170, from The Property of the Trustees of the Will of the First Lord Rochdale. They were purchased by L. Harris, prior to 1932, as the tapestries do not appear in the 1932 sale catalogue of Milton Abbey. Then owned by Lord Rochdale, Old Hall, Highgate, and on loan to Montecute House (Somerset), and then to the House of Lords (hanging in the Peers Dining Room). The set were all woven within a border of similar generic type to the present tapestry with the ribbon bound stems of richly detailed swags, and the side borders with vases of flowers containing irises, although without the distinctive corner lion masks. They were entitled `King David sends the messenger to Bathsheba’ (II Samuel, 11), `Bathsheba receives the King’s messenger’ (II Samuel, 11: 4), `The toilet of Bathsheba’ (II Samuel, 11: 2), `King Solomon welcomes his mother Bathsheba' (I Judges, 2:19), `King Solomon invites Bathsheba to share his throne (I Judges, 2:19), and `The Coronation of Bathsheba’.  The Lord Rochdale panel entitled `King David sends the messenger to Bathsheba’ (265cm. high, 325cm wide), is comparable with the present tapestry for it depicts exactly the same composition (Fig. 1), only a reduced amount as it does not include the top third of the present composition, and has not incorporated the women overlooking from the balcony, or the Solomonic columns or composition further to the left of it as seen in the present tapestry. It was recorded as having the Brussels Brabant town mark in the lower right hand corner of the selvedge, hence post 1528.  Variations of the Solomonic columns are present in two of the other Rochdale panels. The incorporation of distinctive architectural buildings in the background is a common element in the cited tapestries, and the Solomonic columns is based on one of twelve from the old Baptistery, St. Peter’s, Rome, traditionally associated with having been brought from the temple in Jerusalem.  The columns were used in the Acts of the Apostles St. Peter and St. Paul, after cartoons by Raphael (Raffae𓂃llo Sanzio) 1514-1516, woven from 1517-1519, Brussels wor🌜kshop of Van Aelst, for Pope Leo X.

For a tapestry within an identical border type to the offered tapestry, and with similar compositional proportions and elements, depicting a `Flemish Court Council Scene’, Brussels, circa 1530, (351cm. high, 406cm. wide; 11ft. 6in., 13ft. 4in.), (Fig. 2), from the Victoria & Albert Museum (No.88-1896: Purchased Lowengard, Paris), (see G.F. Wingfield Digby, 1980).  It was noted that a pair of tapestries were sold from the Marczell von Nemes Collection, F. Muller & Co., Amsterdam, 13th-14th November 1928, lots 70-71, with one panel depicting the `Meeting of Isaac and Rebecca’, and the other, a `Court scene’, with similarities to the Victoria & Albert Museum weaving and variations such as the inclusion of glass roundels representing Moses and Samson. Wingfield Digby alluded to an Old Testament subject being indicated with the court represented being that of Solomon, with Bathsheba seated at his right hand side.  The von Nemes pieces are extremely close in style to the tapestries from the Foundation of Rome series, circa 1525-1530 (op.cit. de Vega, 1986).

With the similarity in desiඣgn, identical borders and very similar dimensions, it is not improbably that the present weaving and the Victoria & Albert Museum example were weavings from the same designs, and are depicting scenes from the same subject.

It was considered that the looser drawing style of the Victoria & Albert panel, and the borrowed elements from the von Nemes panel, suggested a later date, post 1530. This consideration of a later date and a suggested subject matter is strengthened when comparing it with a weaving which depicts a scene from `The Story of David’, showing the central figure of Bathsheba leading the crowned King Solomon towards King David’s mule (with the Brussels Brabant town mark, approx. 360cm. high, 535cm. wide; 11ft. 9in., 17ft. 6in.) from the Burrell Collection, Glasgow (Inv. 46-111). The border is of similar type, but without ribbons and lion masks. There are elements of the Burrell Collection weaving which can be directly compared to those of the presently offered tapestry, for example the incorporation of the small boy in the foreground, in the same pose in both panels, and the use of a background colonnade with onlookers with spears which are similar. A figural type of a female with distinctive plaited hair arrangements is also found in the von Nemes panel taken from ‘Remus taken captive’ from the Foundation of Rome series, and a variation of this female figure, standing in the Victoria & Albert panel is borrowed from another tapestry series altogether, the figure of Ceres, from ‘January – Months’ tapestry, in the Palazzo Doria, Rome (op.cit. Adelson, 1986).

There is another comparable tapestry described as from the Story of David and Bathsheba  (approx. 367cm. high, 413cm. wide; 11ft. 11in., 13ft. 6in.) in the 🔯St. Louis Art Museum (see Oursel, 2000) which has incorporated a canopied bed and mirror, elderly scholar wearing glasses and reading a ledger, and a small girl seated on the floor, which all appear in the Victoria and Albert panel. It has a variation of the border type, with irises in vases and ribbon bound stems, such as those used in the Ecouen series (Delmarcel, 1976).  

There is a border type of similar design, to that of the offered tapestry and the panel in the Victoria and Albert Museum, on a distinctive series of Months tapestries and including corner compartments with a mask in the lower corners and snails symbolising the passage of time in the top borders (see Adelson, 1994). It is documented with an unidentified designer, cartoonist of the circle of/influenced by Bernaert van Orley, unidentified weavers, Brussels workshop, circa 1525-1528. It is considered that the designer may have been involved with, amongst other series, that of The Foundation of Rome in the Patrimonio Nacional, Madrid, cited earlier with reference to comparable compositional motifs with the present tapestry (op.cit. De Vega. 1986)

Interestingly all the cited comparable tapestries, including those from the Victoria & Al🔯bert Museum, The Burrell Collection, St. Louis Museum and the Rochdale series, depict a similar plaited hair female figural type for the character considered to be Bathsheba, and a young rather than an old representation of King David, the latter of which is also depicted in the present tapestry.    

Attributions

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 cons🗹ideration 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 tꦑhe 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 peri🍌od and pinnacle of 𓃲tapestry production, a small percentage still exist.

Related Literature

Adelson, Candace, European Tapestry in the Minneapolis Institute of Arts, 1994, pp.78-91, Cat.no.7., ‘September’ , Medallion Months Tapestry, unidentified designer and cartoonist of the circle of/influenced by Bernard van Orley, unidentified weavers, Brussels, circa 1525-1528, comprehensively discusses this distinctive series (other examples from the series known in museum collections in Amsterdam, Chicago, New York, Washington), with border types of similar design, and including compartments in the corners, with a masks in the lower corners and snails symbolising passage of time in the top borders. It is considered that the designer may have been involved with, amongst others, the Foundation of Rome series in the Patrimonio Nacional, Madrid, cited with reference to comparable c🗹ompositional motifs with the present tapestry.

Calberg, M., ‘Episodes de l’histoire de Bethsabee sur un suite de tapisseries bruxelloises du XVIe siècle’, Revue Belge d’Archeologie et de l’Art, T.XXXV, 1966, no.3-4.

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 ಞNorthern designer, and to dominate for the next half century.

Campbell, Thomas, Henry VIII and the Art of Majesty: Tapestries at the Tudor Court, Yale University Press, 2007, Chp.6, pp.103-141, Henry VIII, Purchases and Use of Tapestries, pp.120-121, figs.6.15-6.17, and Chp.10, pp.177-198, Royal Patronage in the late 1520's, Style a☂nd Iconography, pp.177-187, for discussion of Brussels tapestries of The Story of David, in relation to the set of ten in Château d'Ecouen, and relevance of the theme of King David tapestries.

Checa, Fernando, Tapisseries Flamandes, Pour les Duc de Bourgogne, l'Empereur Charles Quint et le Roi Philippe II, Brussels, 2009, Chp.I, l'Epoque des Rois Catholiques et de Marguerite d'Autriche (1480-1530), pp.24-101, and Chp.2, L'Époque de Charles Quint et de Marie de Hongrie (1500 - 1558), pp.102-211, for discussion of their tapestry patronage.

Crick-Kuntziger, Marthe, Eine unveröffentlichteWandteppichfolge von Peter van Edinghen, alias van Aelst, Pantheon, XVII, 1936, pp.193-198, noting woven signature within clothing, of Aelst and Brvesel on a panel depicting the Bath of Bathsheba from series David and Bathsheba, circa 1520, Princes of Hohenzollern, Sig🍰maringen Castle.

Delmarcel, Guy, Flemish Tapestries, London, 1999, Chapter II, The Renaissance, pp.65-207, The dawn of the Renaissance in Flemish Tapestry, pp.65-85, pg.66, pl. Herkenbald's Miraculous Communion (Royal Museums of Art and History, Brussels), pg.72, pl. The Last Supper, dated 1516 (Museo d'arte sacra, Camaiore), pg.79, pl.pp.80-81, David and Bathsheba: David summons Bathsheba to his palace, circa 1510-1516,༺ (Musée National de la Renaissance, Ecouen🌌).

Delmarcel, Guy, and contributors, Van Tichelen, Isabelle, Volckaert, An, and Maes, Yvan, Golden Weavings Flemish Tapestries of the Spanish Crown, Exhibition at Bayerisches Nationalmuseum, Munich (March-April 1993), Royal Manufacturers of Tapestry Gaspard De Wit, Malines (May – June 1993) and the Stichting De Nieuwe Kerk in co-operation with the Rijksmuseum, Amsterdam (July – August 1993), Malines 1993, Cat.no.3.David receives Bathsheba in his palace, pp.32-39.

Delmarcel, Guy and de Roo, René, Tapisseries Bruxelloises de la pré-Renaissance, Exposition 22nd Janvier – 7th Mars 1976, Musees Royaux d'Art et d'Histoire, Brussels, Cat.No.1-10, pp.25-51 Histoire de David et Bethsabée, circa 1515-1525, important set of ten tapestries incorporating metal thread, attributed to Jan van Roome and collaborators, and attributed to workshop of Pierre d'Enghien and Pierre Van Aelst in collaboration with Pierre de Pannema𒀰ker, (Mus&⭕eacute;e National de la Renaissance, Ecouen)

Fermor, Sharon, The Raphael Tapestry Cartoons, Victoria & Albert Museum, London, 1996, for comprehensive discussion of this influential series of the Acts of the Apostles St. Peter and St. Paul, after cartoons by Raphael (Raffaello Sanzio) 1514-1516, and woven from 1517-1519, Brussels ಌworkshop of Van Aelst.

Hartkamp-Jonxis, Ebeltje and Smith, Hillie, European Tapestries in the Rijksmuseum, Amsterdam, 2004, Cat.no.18, April, Medallion Months Tapestry, Southern Netherlands, Brussels, circa 1525, pp.69-71, with comparable upper and lower border type, to others in series, for which the designer and weav♑er are unknown, and thought to be by a pain🎐ter from the circle of Van Orley.

Kendrick, A.F., ‘Lord Rochdale’s Tapestries’, Connoisseur, September 1928, pp.10-17, discussed and illuﷺstrated the series, un🦋der the traditional identification as the `Marriage of Anne of Britanny’.

Oursel, Hervé, ‘Une Tapisserie de Bruxelles des Annés 1530 au Musée National de la Renaissance à Écouen’, La Revue du Louvre et des Musées de France, No.3, 2000, pp.43-49., which illustrates the comparable examples from t🥀he St💯. Louis Art Museum and Victoria and Albert Museum examples.

Steppe, Jan-Karel, Inscriptions décoratives contenant des signatures de des mention du lieu d'origine sur des tapisseries bruxelloises de la fin du XVe et du début du XVIe siècle, Exhibition Catalogue, Delmarcel, Guy and de Roo, René, Tapisseries Bruxelloises de la pré-Renaissance, Exposition 22nd Janvier – 7th Mars 1976, Musees Royaux d'Art et d'Histoire, Brussels, pp.193-230, woven signature within clothing, of Aelst and Brvesel on a panel depicting the Bath of Bathsheba from David and Bathsheba, Princes of Hohenzollern, Sigmaringen Castle. Aelst signature is also found on two tapestries of Cavalry from the series the Passion of Christ (Trent and Madrid), pp.216-217.

Junquera de Vega, Paulina, Herrero Carretero, Concha, Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, Vol. I, Siglio XVI, Serie 3, Historia de David y Betsabe, pp.9-12, Paño I-III, Three tapestries from an earlier series woven with narrative banderoles in the border, first quarter of 16th century. This set's compositions were used for the weaving of a set for Henry VIII, with the addition of further figures, to increase the width of the tapestries, such as a weaving of David and Bathesheba at the fountain, (Hôtel de Ville, Brussels), and Serie 14, Fundacion de Roma, pp.93-99, Pa🉐ño I-IV, (woven with subject narrative banderoles in the border).

Wingfield Digby, G.F., The Tapestry Collection – Medieval and Renaissance, Victoria and Albert Museum, London 1980, Cat.no.36, pg.46, pl.56, described as A Royal Court, w🐽ithin an ide𝔉ntical border type, and with similar compositional proportions.