ANTWERP, LATE 17TH CENTURY

This magnificent tapestry is almost certainly inspired by the eight-panel tapestry set, the History of Tamerlane and Bajazet, described by Delmarcel as ‘very exceptional’ (G. Delmarcel, Flemish Tapestry, London, 1999, p. 261). The set depicts the romanticised story of the Mongol conqueror Tamerlane, who, in 1402, defeated the Turkish sultan Bajazet I near Angora, and founded the Timurid Empire and dynasty. The creation of the set appears to have coincided with the relief of Vienna besieged by the Turks in 1683, and its success may be explained by the fear of the Ottoman Empire in Western Europe in this period, and its subsequent defeat.
The designs for the set may be attributed to either Abraham Van Diepenbeeck, or alternatively Johannes Hoebraken, a master in Antwerp between 1640-1674, based on another set, History of Zenobia (Delmarcel, op. cit.). The designs for the History of Tamerlane and Bajazet were almost certainly completed no later than 1670 as a series of eight pieces was listed in a specification of 1673 for Count Ferdinand Bonaventura I von Harrach.
Two of the surviving sets of the History of Tamerlane and Bajazet are in Austria: one in the Episcopal Palace, St. Stephen’s Cathedral, Vienna, and the other in Kremsmünster Abbey (these probably come from the van Butsel workshop, see Duverger, ibid., p. 277). Single tapestries from the same set include Suleiman marries the Emperor Manuel’s Niece, in the Kunsthistorisches Museum, Vienna, and another in the Hermitage (these are undoubtedly later weavings by the Wauters workshop), and Suleiman crowned by Tamerlane in the Musei e Gallerie Pontificie, Vatican City (illustrated Delmarcel, ibid., pp. 263-264).
A virtually identical tapestry depicting the same scene but with slighly differing flowering borders centred by a cabochon with an unidentifiable crowned cypher 'FRC', sold Sotheby's, London, 12 November 2019, lot 167.

Christie’s is delighted to work with UniCredit managing the sale of some of the bank’s artworks from Austria, Germany and Italy. The proceeds will be primarily used to support the Group’s Social Impact Banking (SIB) initiatives. The remaining balance will be dedicated to other relevant projects, including the local support of young artists. In addition, UniCredit will also look to replace the masterpieces
sold with works of young and emerging artists. The artworks are being offered at various Christie’s international salerooms across a range of marquee week sales that started in 2019 and are continuing throughout 2020.

Social Impact Banking is part of UniCredit’s commitment to building a fairer and more inclusive society. It aims to identify, finance and promote people and companies that can have a positive social impact. As well as continuing to provide credit to projects and organisations not usually served by the traditional banking sector, UniCredit employees educate micro-entrepreneurs, social enterprises and vulnerable or disadvantaged groups, building valuable networks within our communities. SIB also focuses Other fees apply in addition to the hammer price- see the Conditions of Sale at the back of the Sale Catalogue on monitoring and measuring outcomes, essential for sustainable growth. In 2019 it was rolled out in 10 additional UniCredit markets.