With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Martin Schongauer’s design for the Baptism of Christ engraving of circa 1470-74.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Albrecht Dürer, Hans Baldung Grien, Hans Schäufelein and Hans Wechtlin, as well as by Schongauer. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.

Torah binder (wimpel) made from swaddling cloth used at a circumcision ceremony. Silk embroidery on linen, made up of four pieces joined by ornamental seams. Stitches : buttonhole, stem, satin and feather. Colours : dark green, blue, purple, beige and yellow.

Ther are representations of the child's zodiacal birth sign, Capricorn the Goat; an antelope which is the emblem of the tribe of Napthali; the huppah or nuptial canopy; and a figure in contemporary dress wearing a mortar-board hat, carrying a Torah scroll and pointing to the Tablets of the Law.

With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Albrecht Dürer’s design for the woodcut of Christ carrying the Cross in his 1511 Small Passion series. This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Hans Baldung Grien, Hans Schäufelein, Martin Schongauer and Hans Wechtlin, as well as by Dürer. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.

With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Hans Wechtlin’s design for the woodcut of the Elevation of the Cross in Johannes Schott’s Das Leben Jesu published in 1508.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Albrecht Dürer, Hans Baldung Grien, Hans Schäufelein and Martin Schongauer, as well as by Wechtlin. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.

With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Albrecht Dürer’s design for the woodcut of Christ washing the disciples’ feet in his 1511 Small Passion series.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Hans Baldung Grien, Hans Schäufelein, Martin Schongauer and Hans Wechtlin, as well as by Dürer. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.

With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Hans Schäufelein’s design for the Pentecost woodcut in Ulrich Pinder’s Speculum Passionis, published in 1507.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Albrecht Dürer, Hans Baldung Grien, Martin Schongauer and Hans Wechtlin, as well as by Schäufelein. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.

With subtlety and dexterity, this tapestry's weaver- who apparently used the monogram ICM- borrowed, enlarged, reversed, and added color to Albrecht Dürer’s design for the Ascension woodcut in his 1511 Small Passion series.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Hans Baldung Grien, Hans Schäufelein, Martin Schongauer and Hans Wechtlin, as well as by Dürer. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.

White cotton ground. Tropical scene of an island densely covered with flowering vegetation, including a palm tree, hollyhocks, and morning glories. A white cockatiel sits on one of the lower branches in the composition. Colors are primarily blues and greens, with pink flowers. The design is contained within a sky-blue cartouche within a frame made of a light-green and brown striped Greek key motif set with four petaled flowers. Two leafy branches, in the same striped color scheme, decorate the inside corners of the frame. The panel was used as a window panel. It has been glazed, and is attached at the top to a wooden rod. Condition: fair; the condition is better in the upper half; the lower is discolored and brittle.

Alsace, 1856-1857

Alsace, 1856-1857