A striking Flemish mythological tapestry Circa 1580-1600, Oudenaarde
A striking Flemish mythological tapestry
Circa 1580-1600, Oudenaarde
Designed with the tale of the demise and death of Hercules, the figures to the immediate foreground - a moustachioed male, probably Lichas, to the left and a finely dressed female with delicate ruff, probably Deianeira, to the right, holding a shirt in her hands, there are two smaller scale males to the left of the central pair dressed in armour and holding spears by a river, and two classical maidens to the right behind the central female, the scene set in a luscious verdant landscape, a cityscape, probably Trachis, visible to the middle distance, there is also a 'miniature' scene to the centre of the main field in the middle distance showing the exchange of the shirt between Heracles and Lichas, a funeral pyre alluded to the distant right with a body just visible, the detailed border with an abundance of fruiting vines and scrolling foliage, a classically dressed figure to each outer corner, possibly depicting the seasons, the central pendant to each side border right depicting a courtly couple -possibly Heracles and Iole, the elaborate scene woven with rich wool and silk threads, 255cm high x 314cm wide
Footnotes:
A Hero's Demise:
The present lot depicts the tragic events prior to the death and apotheosis of Heracles. The specific episode is described in Sophocles's 'Women of Trachis', and in Book Nine of Ovid's 'Metamorphoses'. If we refer first to 'Women of Trachis' there are some clear references to this text, written by Sophocles c.450-425BC, which can be identified in the present lot. Deianeira, wife of Heracles, has learnt of her husband's infidelity with Iole, daughter of Eurytus. The young Iole and Hercules are depicted in the pendant to the centre of the right and left-hand border. Deinaneira, the central female in elaborate dress, gives a poisoned shirt to Lichas with instructions to give it to Heracles. Unbeknownst to Deianeira the potion she has used to imbue the shirt is not a love potion but in fact poison given to her by the centaur Nessus. One can see in the centre of the present lot the moment Lichas gives the poisoned garment to Heracles to the middle distance of the main field - this recurring figure of Lichas can be identified by his distinctive blonde moustache. The rest of the gruesome story is left to the imagination of the viewer - with the funeral pyre of Heracles showing in the upper right of the main field.
A viewer in the late 16th / early 17th century would have had the better-known play by Sophocles in mind when viewing this piece but there is no doubt that the graphic description of Heracles attempting to tear the poisoned shirt off when he is on his own funeral pyre, as described in Book Nine of Ovid's 'Metamorphoses' would have come to mind too. The poisoned shirt acted as an acid when put in contract with skin and Ovid does not hold back when describing the effect this has on the tragic demi-god hero.
This tapestry would have been part of a bigger series -showing different chapters of the life and death of Heracles -there may have been as many as nine panels. Such sets would have been owned by European royalty or noble families probably with close ties to the Hapsburgs. The Hapsburgs were highly influential when it came to artistic production in the Low Countries and it is important to understand that this even extended to choosing the subject matter for a tapestry set. The idea of the 'Vida Noble,' the noble life was also significant and saw a surge of artistic production -from jewels to tapestries, relics to manuscripts. The two main artistic centres -Flanders and Italy were under Hapsburg control during the period when this tapestry would have been produced.
When it came to selecting subject matter for a tapestry set, often the commissioner or even the monarch would be represented by heroic figures - Heracles or Mars for example. It is perfectly reasonable then to suppose that Heracles, the bravest of all the ancient heroes would have been a suitable subject for a royal or noble tapestry commission. Interestingly the eldest son of King Philip II of Spain, Don Carlos, was an avid art and tapestry collector. His collection of tapestries is well documented and we know that in the mid-16th century he owned six figurative sets of tapestries including ten of the History of Aeneas and six of the History of Hercules.
Tapestry production in Oudenaarde:
Tapestry weaving is thought to have started in Oudenaarde during the latter half of the 14th century. By the 15th century it became one of the most significant tapestry centres in Europe.
The oldest record of Oudenaarde tapestry weaving dates from 1368 but it took a while for the trade of such fine pieces to truly take off. Tapestry production in Oudenaarde reached its highest level in the 16th century when work was made in large quantities and to a very high standard -such as the present lot. On 16th May 1544, Oudenaarde declared the general ordinance of Charles V regarding tapestry weaving. From that point on it was compulsory to weave the trademark of the town and label of the specific weaver in the border of the tapestry.
This lot is subject to the following lot symbols: TP
TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.
For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.
Condition Report: In good condition commensurate with age and use of the piece, minor fading in places and some minor re-working (most notably where some of the darker threads are) but overall a good example.
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Estimate
Reserve
Time, Location
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A striking Flemish mythological tapestry
Circa 1580-1600, Oudenaarde
Designed with the tale of the demise and death of Hercules, the figures to the immediate foreground - a moustachioed male, probably Lichas, to the left and a finely dressed female with delicate ruff, probably Deianeira, to the right, holding a shirt in her hands, there are two smaller scale males to the left of the central pair dressed in armour and holding spears by a river, and two classical maidens to the right behind the central female, the scene set in a luscious verdant landscape, a cityscape, probably Trachis, visible to the middle distance, there is also a 'miniature' scene to the centre of the main field in the middle distance showing the exchange of the shirt between Heracles and Lichas, a funeral pyre alluded to the distant right with a body just visible, the detailed border with an abundance of fruiting vines and scrolling foliage, a classically dressed figure to each outer corner, possibly depicting the seasons, the central pendant to each side border right depicting a courtly couple -possibly Heracles and Iole, the elaborate scene woven with rich wool and silk threads, 255cm high x 314cm wide
Footnotes:
A Hero's Demise:
The present lot depicts the tragic events prior to the death and apotheosis of Heracles. The specific episode is described in Sophocles's 'Women of Trachis', and in Book Nine of Ovid's 'Metamorphoses'. If we refer first to 'Women of Trachis' there are some clear references to this text, written by Sophocles c.450-425BC, which can be identified in the present lot. Deianeira, wife of Heracles, has learnt of her husband's infidelity with Iole, daughter of Eurytus. The young Iole and Hercules are depicted in the pendant to the centre of the right and left-hand border. Deinaneira, the central female in elaborate dress, gives a poisoned shirt to Lichas with instructions to give it to Heracles. Unbeknownst to Deianeira the potion she has used to imbue the shirt is not a love potion but in fact poison given to her by the centaur Nessus. One can see in the centre of the present lot the moment Lichas gives the poisoned garment to Heracles to the middle distance of the main field - this recurring figure of Lichas can be identified by his distinctive blonde moustache. The rest of the gruesome story is left to the imagination of the viewer - with the funeral pyre of Heracles showing in the upper right of the main field.
A viewer in the late 16th / early 17th century would have had the better-known play by Sophocles in mind when viewing this piece but there is no doubt that the graphic description of Heracles attempting to tear the poisoned shirt off when he is on his own funeral pyre, as described in Book Nine of Ovid's 'Metamorphoses' would have come to mind too. The poisoned shirt acted as an acid when put in contract with skin and Ovid does not hold back when describing the effect this has on the tragic demi-god hero.
This tapestry would have been part of a bigger series -showing different chapters of the life and death of Heracles -there may have been as many as nine panels. Such sets would have been owned by European royalty or noble families probably with close ties to the Hapsburgs. The Hapsburgs were highly influential when it came to artistic production in the Low Countries and it is important to understand that this even extended to choosing the subject matter for a tapestry set. The idea of the 'Vida Noble,' the noble life was also significant and saw a surge of artistic production -from jewels to tapestries, relics to manuscripts. The two main artistic centres -Flanders and Italy were under Hapsburg control during the period when this tapestry would have been produced.
When it came to selecting subject matter for a tapestry set, often the commissioner or even the monarch would be represented by heroic figures - Heracles or Mars for example. It is perfectly reasonable then to suppose that Heracles, the bravest of all the ancient heroes would have been a suitable subject for a royal or noble tapestry commission. Interestingly the eldest son of King Philip II of Spain, Don Carlos, was an avid art and tapestry collector. His collection of tapestries is well documented and we know that in the mid-16th century he owned six figurative sets of tapestries including ten of the History of Aeneas and six of the History of Hercules.
Tapestry production in Oudenaarde:
Tapestry weaving is thought to have started in Oudenaarde during the latter half of the 14th century. By the 15th century it became one of the most significant tapestry centres in Europe.
The oldest record of Oudenaarde tapestry weaving dates from 1368 but it took a while for the trade of such fine pieces to truly take off. Tapestry production in Oudenaarde reached its highest level in the 16th century when work was made in large quantities and to a very high standard -such as the present lot. On 16th May 1544, Oudenaarde declared the general ordinance of Charles V regarding tapestry weaving. From that point on it was compulsory to weave the trademark of the town and label of the specific weaver in the border of the tapestry.
This lot is subject to the following lot symbols: TP
TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.
For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.
Condition Report: In good condition commensurate with age and use of the piece, minor fading in places and some minor re-working (most notably where some of the darker threads are) but overall a good example.
Sale price
Estimate
Reserve
Time, Location
Auction House
