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Lot Essay
Diese Paneele wurden von Wandteppichserien wie L'Histoire du Roi de Chine von der königlichen Wandteppichmanufaktur Beauvais, inspiriert. Jene Serie wurde von G.-L. Vernansal, J.-B. Belin de Fontenay und J.-B. Monnoyer fr die Manufaktur entworfen und die erste Gruppe, bestehend aus neun oder zehn Paneelen, wurde zwischen 1685 und 1690 ausgeliefert. Die Wandteppiche erfreuten sich solcher Beliebtheit, dass sie entsprechend oft gewoben wurden und die Vorlagen im Jahre 1732 durch Abnutzung unbrauchbar geworden waren. Interessanterweise wurde die gesamte Serie, mit Abänderungen, ab 1713 von Jean II Barraband kopiert, der in der um 1685 gegrndeten Wandteppichmanufaktur in Berlin beschäftigt war. Die hier angebotenen Paneele sind den Wandteppichen aus Berlin stilistisch näher verwandt. Vier Stickereibahnen, ähnlich den Ausschneidebögen der Chinoiserie-Stichfolgen von Martin Engelbrecht aus dem Jahre 1730 oder Johann-Ch. Weigels "Neu inventiertes Laub Bandl und Groteschgen Werk" aus dem Jahre 1710, ähneln den hier angebotenen Exemplaren sehr (A. Gruber, Chinoiserie, Ausstellungskatalog, Bern, 1984, S. 76, Kat. 29).
These needlework panels are inspired by tapestry designs such as those of L'Histoire du Roi de Chine by the Royal Beauvais Tapestry Manufactory. That series was designed for the manufactory by G.-L. Vernansal, J.-B. Belin de Fontenay and J.-B. Monnoyer and the first set, consisting of nine or ten tapestries, was delivered between 1685 and 1690. The series was extremely popular and was only abandoned in 1732 when the cartoons were so worn that they could no longer serve their purpose. Interstingly the same series was copied, albeit with some alterations, by Jean II Barraband from the Berlin tapestry manufactory which was established in 1685. The needlework panels are more closely related to these latter tapestries. Four similar needlework panels with chinoiserie scenes are inspired by ornament books from Augsburg or Nrnberg, Martin Engelbrecht's chinoiserie engravings or Johann-Ch. Weigel's 'Neu inventiertes Laub Bandl und Groteschgen Werk' of 1730 and 1710, respectively (A. Gruber, 'Chinoiserie', exhibition catalogue, Bern, 1984, p. 76, cat. 29).
These needlework panels are inspired by tapestry designs such as those of L'Histoire du Roi de Chine by the Royal Beauvais Tapestry Manufactory. That series was designed for the manufactory by G.-L. Vernansal, J.-B. Belin de Fontenay and J.-B. Monnoyer and the first set, consisting of nine or ten tapestries, was delivered between 1685 and 1690. The series was extremely popular and was only abandoned in 1732 when the cartoons were so worn that they could no longer serve their purpose. Interstingly the same series was copied, albeit with some alterations, by Jean II Barraband from the Berlin tapestry manufactory which was established in 1685. The needlework panels are more closely related to these latter tapestries. Four similar needlework panels with chinoiserie scenes are inspired by ornament books from Augsburg or Nrnberg, Martin Engelbrecht's chinoiserie engravings or Johann-Ch. Weigel's 'Neu inventiertes Laub Bandl und Groteschgen Werk' of 1730 and 1710, respectively (A. Gruber, 'Chinoiserie', exhibition catalogue, Bern, 1984, p. 76, cat. 29).