Nazmiyal Collection Antique Flemish Tapestry. 11 ft 10 in x 13 ft 3 in

View Similar Items

Vintage French Tapestry. 10 ft 8 in x 7 ft 9 in

Antique Belgian Tapestry. Size: 8 ft x 9 ft 6 in

Antique French Tapestry. Size: 1 ft 5 in x 2 ft 1 in

Early 18th century Flemish antique tapestry 10x13 Verdure Wool & Silk 297x384cm

Vintage Italian Wall Tapestry. Size: 11 ft x 19 ft

18th Century Antique French Beauvais Tapestry. 4 ft 4 in x 6 ft 9 in

16th Century Antique Flemish Tapestry. 10 ft 8 inx 11 ft 3in

16th Century Antique Flemish Tapestry. 11 ft 4 inx12 ft 10in

Zabihi Collection Late 18th Century Flemish Verdure Tapestry

Antique Italian Tapestry Caesar Augustus. Size: 8 ft x 12 ft

Zabihi Collection Antique French Tapestry

Vintage Art Deco French Tapestry. Size: 5 ft 9 in x 6 ft

Want more images or videos?

Request additional images or videos from the seller

1 of 11

Nazmiyal Collection Antique Flemish Tapestry. 11 ft 10 in x 13 ft 3 in

About the Item

Rare and Beautiful Large Antique Flemish Heraldic Tapestry, Country of Origin: Belgium, Circa Date: 17th century. Size: 11 ft 10 in x 13 ft 3 in (3.61 m x 4.04 m) Here we see a grand, fine, magnificent and important heraldic wall tapestry of obvious Baroque style, woven certainly at Brussels by a renown tapestry maker, originally conceived perhaps as a compliment of a series of narrative subjects, or included in a series which comprised similar or equal heraldic figurations, other components of which however have not survived. Unpublished and for a long time lost from the sight of scholars, it was however cited in three important texts of bibliography specialised in antique tapestry, following its passage to the market at Paris in 1875 coming from the collection of Paul Galitzin. In fact it certainly coincides with "une pi ce dont le milieu est occupe par un cusson et dont la bordure en offre dix autres" mentioned by Wauters in 1878 (loc. cit.), without indicating its place of conservation: the Belgian scholar puts even the signature 'I.V. BORCHT A CASTRO,' according to him it relates to the tapestry maker Jacques (or Jacob I) van der Borcht. We are still talking about our piece when they say "Grande tapisserie de Flandre, signe J.V. Borght, A Castro, rehausse d'or et d'argent," the sale of which is indicated at Paris in 1875 by Giuffrey (loc. cit.), for 3705 Francs, along with the collection of prince Paul Galitzin in which it was previously conserved. A more complete critical description giving the salient features comes from Gobel (1923, loc. cit.), recalling the tapestry already in Galitzin Collection and without knowing its subsequent placing describes the heraldic emblem at the center of the composition as belonging to a Grand Admiral of Spain, decorated with medal chains of Golden Toson and of the Holy Ghost and completed with the motto "Spes-Fides-Caritas," the signature corresponds, according to Gobel, to that of the Brussels tapestry maker Gaspard (Jasper) van der Borcht. We give here in detail what the German scholar has to say: "Moreover, an emblem carpet attributable to Jasper van der Borght was placed for auction along with the collection of Prince Paul Galitzin of Paris. It had a Brussels tag and was signed KV Borght Acastro. The work, 4.30 m high and 3.63 m wide, uses gold and silver threads generously. Winged geniuses carry the emblem of the Admiral of the Fleet of Spain, surrounded by medal chains of the Golden Fleece and the Holy Ghost, outdone by the motto 'SPES-FIDES-CARITAS.' The layout is based on the pattern created by David Teniers III. Before describing the iconography of the tapestry it is important and necessary to point out that the manufactured article, in its current condition, is the result of a manipulation carried out on a composition that was originally different: the great central escutcheon with the medal chains that surround it and the crown laid upon has been woven separately and fixed there substituting a previous emblem, of which only the (hanging) pendent of the chain of the Golden Toson has been saved on the lower side; similarly the ten escutcheons in the bordure constitute similar tapestries integrated in the manufactured article substituting previous heraldic symbols that have been removed. Direct examination of the cloth however shows that the portions re-woven have been done with great ability and have been integrated skillfully with the pre-existing tapestry, so much so that it can go unnoticed on visual examination and may be revealed as extraneous only on touching the joining along the edge of the inserts, and broadly speaking these have been woven with the technique, quality and the tones of colour that are same as those portions that have survived in the original tapestry together with which they have been 'aged.' Therefore these do not constitute modern inserts but antique ones going back to an era quite close to the original version of the article, at that point adapted and camouflaged with the rest of the composition that could even have been done by the same tapestry maker who had done the first version of the tapestry. Hence it can be said with reasonable hypothesis that the hanging, shortly after having been made with the heraldic figurations as required by the first owner, was passed on to another owner and was modified, to the glory of the new owner; and we could perhaps say that each of them were Spanish owners. They would have entrusted the work - for making the work piece as well as for its other version, to a tapestry maker of the capital of the Flanders, Brussels, and logically speaking as the Flanders were under Spanish monarchy, governed by the Spanish governors till 1713, before that date, confluence of the most magnificent tapestry ordinations of Iberian nobility could be seen at that place. In its current state, at the center of the tapestry can be seen a heraldic escutcheon enclosed in a small frame of shells. Quartered, the escutcheon demonstates: in the first quarter, two crowned heads separated by a sword gripped by a hand, on a pink background; in the second quarter, a tower flanked by three stars, on a sky blue background; in the third quarter a winged dragon on red background; in the last quarter a tree with a dog and a wolf passing by the base of the trunk, on silver background. The escutcheon is chained to an anchor, the emblem of an Admiral and to a star with eight points (tips), symbolizing that the owner of the tapestry belonged to the Order of Knights of Malta. The two chains are twined, from the inner one hangs a cross with eight tips, rather than an insignia of the Order of the Holy Spirit (as written by Gobel), it seems more like a "Our Father (paternoster) of the Order of Knights of Malta and hints at a certain dignity within the congregation of 'bali'; the outer chain instead is the well known insignia of the Order of Golden Toson, the most important European Chivalry Order (Knighthood Order), with the characteristic Golden Fleece hanging. A crown caps the emblem, it is raised at three points that look like nests containing birds with open wings from which diverge three cartouches with the inscription of the names of the three theological virtues SPES, FIDES, CARITAS. The escutcheon and the decorations that surround it, as has been mentioned earlier, with the exception of the Golden Toson hanging, have been reapplied in a figurative field with symbolic objects, winged geniuses and landscape background belonging to the first version of the tapestry. The escutcheon seems to be suspended by two ribbons that are knotted by two lively pairs of small winged geniuses at the branches of the tree in the upper corners of the scene; on the right, at half the height, two other flying child figures chase a snake like end of the ribbon. On the lower side, on a natural stage, there are three other child figures that refer to the military glory and marine ventures of the first buyer of the tapestry, which the second owner must have considered convenient and important for his personality too: one small child figure covered with a red cloak, on foot on a drum, grasps a bugle and a flag; in front of a cannon, another small genius brings out a lance from a blue cloak and on the ground next to him are lying a shield, a helmet and an armour; on the right, the last child figure, endowed with a compass, is taking measurements on a big world map, the visible part of which illustrates, not casually, Atlantic Ocean between the Americas and Europe, with Spain in a prominent position. Behind the geniuses bursts open a landscape with a section of the sea enclosed by three mountainous coasts, with two ships under sail, likely to be in departure from Spain towards the American colonies. The tapestry has been completed, on four sides, by a rich bordure, surrounded internally and externally with fake cornets in chiseled, gilded wood. As different from the substituted shields, the bordure was woven along with the tapestry for its first owner. The raised sides are constituted of coloumns, enriched by ribbons and climbers on the bands of which are etched the terms PLUS (on the left) and ULTRA (on the right), to be read in sequence as a personal motto: PLUS ULTRA (further on); thus perhaps offering the opportunity to recognize, if not the person at least the lineage (family) of the first buyer of the tapestry, because such famous motto, adopted as the personal emblem by Emperor Charles V at the beginning of the XVI century together with the Pillars of Hercules, which then remained the motto of the Spanish Army, was taken, together with the pillars, in the emblem of the Pizarro Spanish Marquesis de las Charcas family. The horizontal decorations instead are covered by climbers intermingled by ribbons. The ten shields have been substituted simultaneously along with the central emblem, to which these are clearly joined. The corner ones proposes one by one, the heraldic figurations of the quarters of the central shield. The one at the center of the upper decoration, with two keys, hints probably at an important task covered by the second owner of the tapestry, perhaps that of Superintendent of Finance, while that at the center of the lower decoration suggests insignia of the anchor that was already seen chained to the emblem and that serves as emblem of the Admiral (or more appropriately, Second Admiral as it deals with one single anchor and not double anchor). On the two shields of the left raised part, the chain of the Order of Golden Toson is illustrated in the first one and in the second one a lilied cross is illustrated whose shape corresponds to the insignia of the Order of Knights of Calatrava, dependent of the Spanish Crown. The corresponding shields on the opposite raised part suggest 'Our Father '(paternoster) of Bali of the Order of Knights of Malta and the cross with eight tips suggests that it is an insignia of the same Order. In spite of the gaudy unfolding of the heraldic and decorative symbols, it has not been possible to identify neither the first nor the second owner of the tapestry. From what has survived of the original figurations, it can be understood that the first buyer, around 1680-1685 (which is the probable date when the piece was made, as we shall see), was a Spanish noble involved in the Army and the Navy, affiliated to the Order of the Golden Toson and that he adorned himself with the motto PLUS ULTRA: as has been mentioned, probably he was an exponent of the lineage of the Pizarro de las Charcas. The second one, a noble owner, was affiliated with the Order of the Golden Toson of Malta, Calatrava, Admiral and Superintendent, his family cannot be identified as his emblem does not figure in the vast catalogue of the Armorial general of Rietstap (London 1884), nor in any other heraldic catalogues consulted by the undersigned, comparing them even with the lists of Knights of Golden Toson given in La Toison d'Or. Cinq si cles d'Art et d' Histoire, catalogue shows, Bruges, 1962, pgs. 35-81. It can only be said that, he came to possess the tapestry around 1700, took care to personalize it, he too was an exponent of a Spanish noble family and therefore may be identified, in the absence of better alternatives, through the high-sounding title conferred to him by Gobel: the Great Admiral of Spain. More satisfying results come from the analysis of the tapestry - a masterpiece of working technique and a historical-artistic manufactured article. Examination of the work piece shows in fact the precious material quality that was given great prominence by the conservative restoration (carried out above all in the areas of silk weft) and the washing carried out during the course of 2003 by Works of the Textile Arts in Milan, under the direction of Marianna Prevarin. The tapestry is distinguished because of its fine weaving; its weft is precious as it is rich not only in silk but has also silver and gold. The variety and the freshness of the colours, at times vividly contrasting, at others softly shaded as well as the precision and the minuteness while rendering the natural details too, give the tapestry its distinctive characteristic. The tapestry maker knew how to give delicate fullness to the incarnates of the lively child figures, he has brilliantly reproduced the glow of the arms on the proscenium and the diffused, dim luminosity of the distant landscapes that are made clear by the effect of the aerial perspective. This high working standard, involving the intervention of a renowned workmanship, is well explained through the marking and the signature on the lower selvedge: the tapestry has been made in the traditional European capital for tapestry, Brussels & bears the illustrious signature of the Brussels tapestries in the years between the end of the XVII century and the beginning of the XVIII century. Even though it is still uncertain whether the signature is of Jacob I or the son Gaspard (Jasper) van der Borcht (or Borght), the signature "I. V. BORCHT A CASTRO," besides characterizing this piece of work, is found on highly valuable work pieces, a series of which is Art of War - pattern created by Lambert de Hondt nel Palazzo di Blenheim (Monk) and more series of the so called Teniers tapestry (A. Wace, The Marlborough Tapestries at Blenheim Palace, London and New York, 1968; H.C. Marillier, Handbook to the Teniers Tapestries, London, 1932, pg.3). It is documented about Jacob I van der Borcht that already in 1675 he was an active tapestry maker at Brussels who obtained the privilege (licence) in 1676 and he was still active in 1707. Gaspard obtained privilege (license) in 1684 and died in 1742, till then he worked in association with other Brussels colleagues like Jeroen Le Clerc & Daniel Leyniers and among his clients were Massimiliano-Emanuel elector of Baviera and Guglielmo III, king of England (Wauters, cit., pgs. 343; Gobel, cit., 1923, I, pgs. 396; D. Heinz, Europaische Tapisseriekunst des 17. und 18. Jahrhunderts, Wien-Koln-Weimar, 1995, pgs. 38, 206; G.Delmarcel, Flemish Tapestry, New York and London 1999, pgs. 363-364). We however prefer to think that Jasper added the pseudonym "A CASTRO," to his initials and surname that were the same as those of his father (it is the literal Latin translation of the surname Van der Borcht), to distinguish his signature from that of his father. In such a case, as already underlined by Gobel, we can say that the heraldic tapestry under study could be the most antique surviving tapestry of the tapestry maker considering that it must have been woven by 1685, as can be deduced from the chronology as well as through the existential dates referring to the probable pattern creator David III Taniers who died precisely in that year.

Similar to:
J.V. Borght, A Castro (Designer)
Dimensions:
Height: 159 in (403.86 cm)Width: 142 in (360.68 cm)Depth: 0.05 in (1.27 mm)
Style:
Victorian (In the Style Of)
Materials and Techniques:
Wool,Hand-Woven
Place of Origin:
Belgium
Period:
17th Century
Date of Manufacture:
17th Century
Condition:
This rug is in a good condition.
Seller Location:
New York, NY
Reference Number:
Seller: 23991stDibs: LU859719277472