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拍品专文
THE COAT-OF-ARMS
The Le Sénéchal de Carcado family is first mentioned in the 11th century and lists among its ancestor a knight of the second crusade in the 13th century. Marguerite was the youngest of seven children of Even Le Sénéchal de Carcado, seigneur of Carcado, of But-St. Caradec and of Brohans and Jeanne La Vache (Jeanne de la Houssay). Even accompanied the Duc de Bretagne Jean V and his brother Arthur de Bretagne, Comte de Richemont, during their trip to Amiens in 1423 to negotiate with the Duke of Bedford and the Duke of Bourgogne to reach an agreement between Charles VII and the English. Marguerite married below her lineage in 1442 Guillaume III de Froulay, chevalier and 6th ayeul du feu and maréchal de Tessé, who served Charles VII under comte de Maine against the English and who died in the battle of Castillon in 1453.
DESIGN OF TAPESTRY
This tapestry relates most closely to a drawing of a tapestry that includes the arms of Claude Gouffier, duc do Roannois (d. 1570) and his second wife Françoise de Brosse-Bretagne (d. 1558) whom he married in 1545 (G.
Delmarcel, ed., Flemish Weavers Abroad, Leuven, 2002, p. 195). That tapestry includes a very similar central tree flanked by two arms and with the same type of inscribed scrolling band, surrounded by four further trees and on a lozenge and damascened background with the 'HD monogram. The drawing shows that the entire tapestry would consist of the central tree
surrounded by four coat-of-arms hung full-length trees. The drawing of the
Roannois tapestry was made by François Roger de Gaignières (d. 1715) as part of his vast collection of drawings of works of art that he considered of particular historical interest and is now in the Bibliothèque nationale de France.
The existence of a virtually identical tapestry incorporating coat-of-arms of a marriage of the mid-16th century suggests that the offered lot was probably woven at the same time as part of a larger genealogical series.
Stylistically the tapestry is based on 15th and 16th century models, while the treatment of the trees as well as the idiosyncratic treatment of the coat-of-arms suggests that the tapestry was probably woven in the mid or second half 16th Century
The Le Sénéchal de Carcado family is first mentioned in the 11th century and lists among its ancestor a knight of the second crusade in the 13th century. Marguerite was the youngest of seven children of Even Le Sénéchal de Carcado, seigneur of Carcado, of But-St. Caradec and of Brohans and Jeanne La Vache (Jeanne de la Houssay). Even accompanied the Duc de Bretagne Jean V and his brother Arthur de Bretagne, Comte de Richemont, during their trip to Amiens in 1423 to negotiate with the Duke of Bedford and the Duke of Bourgogne to reach an agreement between Charles VII and the English. Marguerite married below her lineage in 1442 Guillaume III de Froulay, chevalier and 6th ayeul du feu and maréchal de Tessé, who served Charles VII under comte de Maine against the English and who died in the battle of Castillon in 1453.
DESIGN OF TAPESTRY
This tapestry relates most closely to a drawing of a tapestry that includes the arms of Claude Gouffier, duc do Roannois (d. 1570) and his second wife Françoise de Brosse-Bretagne (d. 1558) whom he married in 1545 (G.
Delmarcel, ed., Flemish Weavers Abroad, Leuven, 2002, p. 195). That tapestry includes a very similar central tree flanked by two arms and with the same type of inscribed scrolling band, surrounded by four further trees and on a lozenge and damascened background with the 'HD monogram. The drawing shows that the entire tapestry would consist of the central tree
surrounded by four coat-of-arms hung full-length trees. The drawing of the
Roannois tapestry was made by François Roger de Gaignières (d. 1715) as part of his vast collection of drawings of works of art that he considered of particular historical interest and is now in the Bibliothèque nationale de France.
The existence of a virtually identical tapestry incorporating coat-of-arms of a marriage of the mid-16th century suggests that the offered lot was probably woven at the same time as part of a larger genealogical series.
Stylistically the tapestry is based on 15th and 16th century models, while the treatment of the trees as well as the idiosyncratic treatment of the coat-of-arms suggests that the tapestry was probably woven in the mid or second half 16th Century