THIS LOT IS FROM A SERIES OF SIX BEAUVAIS TAPESTRIES MOST COMMONLY KNOWN AFTER 1850 AS LES GROTESQUES DE BERAIN. THE SETS USUALLY CONSIST OF THREE HORIZONTAL TAPESTRIES WITH CONTEMPORARY TITLES OF THE ANIMAL TAMERS, THE CAMEL (LE DROMEDAIRE) AND THE ELEPHANT, AND THREE UPRIGHT PANELS, CALLED THE OFFERING TO BACCHUS, THE OFFERING TO PAN AND THE MUSICIANS. THE DESIGNER OF THE SET OF SIX BEAUVAIS GROTESQUES IS JEAN BAPTISTE MONNOYER, A FLOWER PAINTER WHO WAS ACTIVE IN PARIS UNTIL 1690 WHEN HE LEFT FOR LONDON. IT IS HIGHLY PROBABLY THAT MONNOYER'S DESIGNS FOR THIS TAPESTRY SERIES WERE INFLUENCED BY JEAN BERAIN, WHO MAY HAVE PROVIDED PRELIMINARY SKETCHES (SEE E. STANDEN, EUROPEAN POST-MEDIEVAL TAPESTRIES AND RELATED HANGINGS IN THE METROPOLITAN MUSEUM OF ART, 1985, VOL. II, PP. 441-443).

THE OFFERED LOT LACKS ITS BORDERS AND AS SUCH, ANY TRACEABLE WEAVER'S MARKS. THE SERIES IS KNOWN TO HAVE BEEN WOVEN UNDER THE DIRECTION OF PHILIPPE BEHAGLE BEFORE 1689, AS HE WAS FORCED TO PAWN SEVERAL PIECES OF A SERIES DEPICTING 'GROTESQUES à PETIT PERSONNAGES' TO A CREDITOR THAT SAME YEAR. ALL TAPESTRIES OF THIS SERIES ARE WOVEN AGAINST A TABAC D'ESPAGNE GROUND, A VOGUE WHICH LASTED UNTIL 1730 AND CONFIRMED BY THE USE OF YELLOW GROUNDS FOUND ON SAVONERIE CARPETS AND SCREEN PANELS OF THE SAME PERIOD, (E. STANDEN, OP.CIT.).

FIVE TAPESTRIES FROM THIS SET ARE IN THE METROPOLITAN MUSEUM OF ART, INCLUDING LE DROMEDAIRE. THE OFFERED TAPESTRY IS CLOSELY RELATED TO THAT IN THE METROPOLITAN MUSEUM'S COLLECTION, EXCEPT IN THAT IT LACKS ITS BORDERS AND ENCORPORATES THE MORE USUAL SUBJECT MATTER ENCLOSED IN THE CENTRAL ARCHITECTURAL FACADE: A PEACOCK PERCHED ON A DRAPED PLINTH BEFORE A LARGE FLOWER-FILLED VASE WITH A GESTICULATING YOUTH TO THE RIGHT, SURMOUNTED BY TWO CHILDREN PLAYING ON ROPES IBID., P. 144).