Silk, warp-faced satin weave self-patterned by plain weave

Silk and gold and silver gilt strips wound around silk fiber cores, countered warp twining with extended weft loop fringe

Silk, gold gilt strip wound around linen fiber core, integrated compound weave of warp-float faced satin weave and twill weave with supplementary patterning wefts

Silk and gilt-metal-strip-wrapped silk, 4:1 satin damask weave with supplementary brocading wefts

Linen, silk, gold wire, integrated compound-weave of warp-float faced satin weave and warp-float faced twill weave with supplementary patterning wefts

Silk and gold gilt strip wound around silk fiber core, warp-faced plain weave with extended ground wefts loop fringe

Dans un paysage champêtre, un seigneur qui vient de descendre de son cheval que l'on aperçoit à gauche, s'élance vers une femme qui est assise à droite, entourée de trois suivantes; au second plan, groupe de musiciens et de danseurs ; au fond, à gauche, une maison. Bordure à gros fruits et fleurs enlacés autour d'un pilier en forme de tronc de palmier sur fond rouge. Marque BB, sur le liseré, en bas, à gauche.

Silk, plain weave with supplementary patterning wefts and plain interlacings of secondary binding warps and silvered-metal strip supplementary facing and some supplementary patterning wefts; tapes of silk, gilt-metal strips, and gilt-metal-strip-wrapped silk, inner tape: plain weave with supplementary patterning warps; edge tape: plain weave self-patterned by warp and weft floats; lined with linen, plain weave; glazed

Silk and gilt-metal-strip-wrapped silk, stripes of plain weave, plain weave with supplementary patterning warps, and bands of two- and three-color complementary weft plain weave with inner warps terminating in a plied warp fringe with bands of supplementary discontinuous bast fiber warps imitating an attached woven fringe

Silk and gilt-metal-strip-wrapped silk, plain weave with gilt-metal-strip supplementary facing wefts and with supplementary patterning wefts

Au premier plan, un groupe de femmes en costumes régionaux entoure une cavalière. Le fond de paysage comprend deux paysannes dont l'une porte un seau, deux vaches et un château. Trois banderoles renferment chacune un commentaire :" tondue de renteri du pres du passadge"; "fame de berger du pres de la montaigne. de sainct adrien" ; "fame du mondemarsan".

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.

1575 / 1600, 1600, Italy

1575 / 1600, 1600, Italy

Description