Asia - Lot 6

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Lot n° 6
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Estimation :
55000 - 70000 EUR
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Result : 109 990EUR
Asia - Lot 6
Asia Part of the Four Continents tapestry Brussels Tapestry Designed by Lodewijk Van Schoor (1666-1726) Early 18th century Finely woven in wool and silk (wool warp, wool weft, silk and precious metal threads: gold and silver) Height 283 cm; Width 540 cm This exceptional tapestry belongs to a Tenture des Quatre continents, woven after designs by Lodewijk van Schoor (1666-1726). Although the absence of a border prevents us from identifying the town and workshop, we can link it to the productions of Jacques van Borcht I (c. 1650-1713) or Jean-François Van den Hecke (?-?). These two Brussels workshops, known for the remarkable quality of their production, were involved in the execution of series of the Four Continents, a theme favored by wealthy patrons in the 17th and 18th centuries. Several versions were designed by Lodewijk van Schoor, with some notable changes in composition. This rich panel, with its sumptuous decoration and frieze of figures, features the personification of Asia in the center, crowned with flowers and enthroned on a harnessed camel in the shade of a parasol. She directs her attention to a crowned woman descending the staircase, who appears to be ruling with a scepter. These elegantly dressed and richly adorned Oriental figures bear the hallmark of their creator: slender silhouettes, delicate expressions, supple drapery and abundant ornamentation. The painter's name can be read on the base of the staircase. Van Schoor joined forces with Pieter Spierinckx (1635-1711) for the landscapes. The ivy-covered palm tree and the Chinese pagoda reinforce the exotic character of the scene and nuance the presence of the staircase which, despite its heavy tassel drapery, borrows more from the codes of Flemish palatial architecture. Asia originally found its place alongside Africa, America and Europe. Although they differ in their attributes, what these tapestries have in common is the ostentatious depiction of luxurious objects in almost exclusively feminine worlds. This panel also bears witness to the development of "Oriental" or "Turkish" fashion in the late 17th century. A fantasized exoticism, encouraged by the opening of trade routes, whose blossoming reached its apogee in the middle of the following century. This interesting and beautiful tapestry has preserved its bright colors and is borderless, which may be original, since it was at this time that borderless tapestries began to be woven for use in woodwork frames. It is in good condition, with some wear and old restorations. Bibliographical reference: La Tapisserie Flamande by Guy Delmarcel, pp. 306-308
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