Details
A BRUSSELS HISTORICAL TAPESTRY
THIRD QUARTER 17TH CENTURY
Depicting the Battle of Actium from the Story of Antony and Cleopatra, probably designed by Justus von Egmont, with Antony wearing his helmet with dragon crest on horseback guarding Cleopatra against warriors within an extensive landscape, within a later guard border woven with entwined foliate garlands, bearing a partial weaver's inscription V.D.STRECKEN (considerable areas of reweaving, reduced in height and width, lacking borders)-9ft. 1in. x 13ft. 8in. (2m. 73cm. x 4m. 10cm.)
Geraert van der Strecken, active in Brussels 1645-1677
The offered tapestry is a version related to five tapestries from a set of eight or more from the Story of Anhony and Cleopatra in the Metropolitan Museum of Art, New York, designed by Justus von Egmont and woven by Jan van Leefdael (1644-1660) and Geraert van der Strecken (1645-1677). It is recorded that these weavers were apparently partners active in Brussels, the former became a master in 1644, the latter in 1647. For further discussions see E. Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art, 1985, vol. I, pp. 206-217.
THIRD QUARTER 17TH CENTURY
Depicting the Battle of Actium from the Story of Antony and Cleopatra, probably designed by Justus von Egmont, with Antony wearing his helmet with dragon crest on horseback guarding Cleopatra against warriors within an extensive landscape, within a later guard border woven with entwined foliate garlands, bearing a partial weaver's inscription V.D.STRECKEN (considerable areas of reweaving, reduced in height and width, lacking borders)-9ft. 1in. x 13ft. 8in. (2m. 73cm. x 4m. 10cm.)
Geraert van der Strecken, active in Brussels 1645-1677
The offered tapestry is a version related to five tapestries from a set of eight or more from the Story of Anhony and Cleopatra in the Metropolitan Museum of Art, New York, designed by Justus von Egmont and woven by Jan van Leefdael (1644-1660) and Geraert van der Strecken (1645-1677). It is recorded that these weavers were apparently partners active in Brussels, the former became a master in 1644, the latter in 1647. For further discussions see E. Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art, 1985, vol. I, pp. 206-217.