It is certain that centres such as Enghien, Grammont and Audenarde manufactured large leaf verdure tapestries but it is probable that other cities produced similar works. The identification of specific weaving centres for these tapestries is greatly hindered by the rarity of town marks on the tapestries and insufficient descriptions of the tapestries in 16th Century records.
A tapestry that has very similar borders and the same thorn-like leaves that are not veined, is in the Museum for Fine Arts, Boston (A Cavallo, Tapestries of Europe and of Colonial Peru in the Museum of Fine Arts, Boston, Boston, 1967, vol. II, pl. 27, and vol. I, cat. 27, pp. 106 - 107). These particularities, including the borders that have leaves that do not overlap into the main field and vice versa, allow Cavallo to attribute that tapestry loosely to Enghien and more so to Grammont based on comparable pieces that bear town marks. Two further pieces are in the Austrian State Collection, Vienna, and are illustrated in L. Baldass, Die Wiener Gobelinssammlung, Vienna, 1920, vol. I, pls. 108 and 106 (bearing the marks of Enghien and Grammont, respectively), while a third bearing the town mark of Grammont is in the Hamburgisches Museum für Kunst und Gewerbe (H. Göbel, Tapestries of the Lowlands, New York, 1924, pl. 471). Another tapestry with very closely related column border enhanced by clusters of flowers and brackets is illustrated in J. Boccara, Ames de Laine et de Soie, Saint-Rémy-en-l'Eau, 1988, p. 69 and one example was sold at Christie's, London, 16 November 2000, lot 109.