THE PROPERTY OF A LADY
A LOUIS XV BEAUVAIS TAPESTRY woven in wools and silks depicting a fête champetre with courtly young ladies seated in a wooded glade with musicians in attendance, a peasant and a peasant girl gazing longingly from the urn-capped trellis-work to the left and with a dolphin and putti-surmounted fountain to the right, the foreground woven with flowers and foliage in an extensive wooded landscape, the border woven with scrolling laurel and acanthus-clasps within a further outer blue slip, turned over to top and bottom, areas of wear, restorations

细节
A LOUIS XV BEAUVAIS TAPESTRY woven in wools and silks depicting a fête champetre with courtly young ladies seated in a wooded glade with musicians in attendance, a peasant and a peasant girl gazing longingly from the urn-capped trellis-work to the left and with a dolphin and putti-surmounted fountain to the right, the foreground woven with flowers and foliage in an extensive wooded landscape, the border woven with scrolling laurel and acanthus-clasps within a further outer blue slip, turned over to top and bottom, areas of wear, restorations
125in. (317cm.) x 212in. (539cm.)

拍品专文

The Concert Champître, forming part of the Fêtes de village à l'italienne was woven at Beauvais to designs by Francois Boucher (d. 1770), while the borders were woven under the direction of Georges Pluyette. The set, comprising eight scenes, was begun in 1734, the year that Boucher entered the French Academy as a history painter and was first employed by the tapestry factory, where Jean Baptiste Oudry (d. 1755) had just been appointed a Director. The scène gallant is set in a woodland clearing, where a courting couple and ladies of the court are seated beside a fountain that is embellished with Venus's dolphins and are entertained by Italian-costumed players, while a garden-maid and her companion watch from a trellised palisade. Originally thought to comprise fourteen scenes, the set is discussed by E. Standen, European post-Medieval tapestries and related hangings in the Metropolitan Museum of Art, New York, vol. II, no. 78, pp. 507-533