拍品專文
Pomona was a Latin wood nymph (protector of gardens, orchards and ripening fruits). No other nymph could tend a garden more skillfully than she. The only thing she was afraid of was being attacked by a suitor, so she fenced herself inside her orchard. Vertumnus (God of transformation) fell in love with her, but like all other suitors he was shunned. He changed and disguised himself as a reaper, herdsman, soldier and fisherman, all to no avail. One day he pretended to be an old woman and Pomona welcomed her in. He pleaded unsuccessfully for his own cause, but when he revealed himself in his true youthful and resplendent self, he conquered Pomona's heart.
The series originally consisted of nine panels and was possibly designed by Jan Cornelisz Vermeyen (1500-1559) for Charles V. Vermeyen, born in Haarlem, was very much taken by Roman mythology. He travelled with Charles V to Naples, Germany and Holland before settling in Arras and Brussels. More recently Pieter Coecke van Aelst (1502-1550) has been suggested as the designer. Coecke was admitted to the guild of painters and printers in Brussels in 1527. Having trained under Bernard van Orley (1491-1543) and travelled on a prolonged visit to Italy, he was appointed peintre ordinaire de Charles-Quint et de la reine de Hongrie.
Charles V commissioned two sets of this series, of which one remains in Vienna (L. Baldass, Die Wiener Gobelinssammlung, Vienna, 1920, cat. 146-154) whilst the other is in the Spanish Royal Collection (P. Junquera de Vega and C. Herrero Carretero, Catalogo de Tapices del Patrimonio Nacional, Madrid, 1986, vol. I, pp. 123-133, cat. 18). Of the various sets that were woven throughout the 16th and 17th Centuries in Brussels, two versions were executed for Philippe II by Willem de Pannemaker (op. cit., vol. I, pp. 105-122, cats. 16 and 17). Various sets were woven throughout the 16th and 17th Centuries in Brussels. Four panels with a nearly identical border design to this tapestry and unidentified weaver's mark are illustrated in J. Boccara, Ames de Laine et de Soie, Saint-Just-en-Chaussée, 1988, pp. 248-250.
The series originally consisted of nine panels and was possibly designed by Jan Cornelisz Vermeyen (1500-1559) for Charles V. Vermeyen, born in Haarlem, was very much taken by Roman mythology. He travelled with Charles V to Naples, Germany and Holland before settling in Arras and Brussels. More recently Pieter Coecke van Aelst (1502-1550) has been suggested as the designer. Coecke was admitted to the guild of painters and printers in Brussels in 1527. Having trained under Bernard van Orley (1491-1543) and travelled on a prolonged visit to Italy, he was appointed peintre ordinaire de Charles-Quint et de la reine de Hongrie.
Charles V commissioned two sets of this series, of which one remains in Vienna (L. Baldass, Die Wiener Gobelinssammlung, Vienna, 1920, cat. 146-154) whilst the other is in the Spanish Royal Collection (P. Junquera de Vega and C. Herrero Carretero, Catalogo de Tapices del Patrimonio Nacional, Madrid, 1986, vol. I, pp. 123-133, cat. 18). Of the various sets that were woven throughout the 16th and 17th Centuries in Brussels, two versions were executed for Philippe II by Willem de Pannemaker (op. cit., vol. I, pp. 105-122, cats. 16 and 17). Various sets were woven throughout the 16th and 17th Centuries in Brussels. Four panels with a nearly identical border design to this tapestry and unidentified weaver's mark are illustrated in J. Boccara, Ames de Laine et de Soie, Saint-Just-en-Chaussée, 1988, pp. 248-250.