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Lot Essay
The Story of Ulysses series was almost certainly woven in England in one of the workshops established in the late 17th and early 18th Century after the closure of the Great Wardrobe. Very few records survive outlining the various tapestry series that were made during this period in the many private ateliers established not only by workers from the Great Wardrobe but also by immigrant weavers. No specific workshop can thus be associated with this series. It is not documented how many panels The Story of Ulysses included, but it is likely that the series comprised at least eight if not more panels as was customary at the time (H.C. Marillier, English Tapestries of the Eighteenth Century, London, 1930, pp. 112-113).
Research in the last few years has revealed that Antwerp was particularly known to weave tapestries in the English manner to supply the large English market during this period and some of its designs were even copied in England. Many tapestries that have in the past been attributed to the Soho workshops in England have turned out to actually be from Antwerp. Jeremias Cockx and Cornelis de Wael of Antwerp, for example wove a series depicting Ulysses and Circe at least twenty times between 1682 and 1688 after the cartoons of Pieter Ykens (d. 1695) and Pieter Spierincx (d. 1711) (G. Delmarcel, Flemish Tapestry, Tielt, 1999, p. 263). The similarities of the tapestries woven in the two centers is so great that it is often impossible to tell where they were made. The existence of a tapestry series of such related subject in Antwerp during these years may, however, suggest that the offered lot is English.
Research in the last few years has revealed that Antwerp was particularly known to weave tapestries in the English manner to supply the large English market during this period and some of its designs were even copied in England. Many tapestries that have in the past been attributed to the Soho workshops in England have turned out to actually be from Antwerp. Jeremias Cockx and Cornelis de Wael of Antwerp, for example wove a series depicting Ulysses and Circe at least twenty times between 1682 and 1688 after the cartoons of Pieter Ykens (d. 1695) and Pieter Spierincx (d. 1711) (G. Delmarcel, Flemish Tapestry, Tielt, 1999, p. 263). The similarities of the tapestries woven in the two centers is so great that it is often impossible to tell where they were made. The existence of a tapestry series of such related subject in Antwerp during these years may, however, suggest that the offered lot is English.