London Art Woche, UK. 13. Juni 2019. Vor London Art Week (27. Juni-5. Juli), einige der vielfältigen wichtige Werke, die in der Vorschau angezeigt werden. Bild: S Franses einen monumentalen Wandteppich im Auftrag von Charles I zwischen 1620-1625, während er noch Prinz von Wales war und an der Königlichen Mortlake Tapestry Werk in der Nähe von Barnes gewebt, zuletzt im Metropolitan Museum in New York im Jahr 1919 gesehen, und jetzt nach London zurückgekehrt. Credit: Malcolm Park/Alamy Leben Nachrichten.
5568 x 3712 px | 47,1 x 31,4 cm | 18,6 x 12,4 inches | 300dpi
Aufnahmedatum:
13. Juni 2019
Ort:
London, UK
Weitere Informationen:
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
Press release: S Franses of St James’s will be staging an exhibition of “The Lost Tapestries of Charles I” during this summer’s London Art Week. The exhibition’s centrepiece is an extraordinary English tapestry made for King Charles I between 1620 and 1625 while he was still Prince of Wales (during the reign of his father James I). It was one of the first to be woven at the newly-formed Royal Mortlake Tapestry factory on the Thames, near Barnes, in south west London. This long lost textile was originally part of a monumental set of nine tapestries based on the story of Vulcan and Venus from Homer’s Odyssey. Although by the 18th century the set was in the possession of a private collector, the Royal Collection bought it back, and during the reign of Queen Victoria, the designer William Morris cut up most of it to create “The Tapestry Room” in St James’s Palace (still in situ). Whilst today we would regard this as an act of cultural vandalism, at the time it was considered legitimate. This left unaltered just the three largest of the original Vulcan and Venus set. The V&A acquired one of them in 1898 and a second in 1978 (now on view in the English Galleries Room 56), but the third and last tapestry remained in private ownership. In the early 20th century it had been on loan to the Metropolitan Museum, New York, but was returned to its owner soon after the First World War, and disappeared from public view. Even at that time, it was considered to be a major work of English textile art, and illustrations of it were published in several tapestry books. In the late 1980’s S Franses carried out research to track down its whereabouts. The Upper East Side New York address in the Met’s archives proved to be a dead end, as the house no longer existed. It transpires the tapestry had been sent to Germany at some stage, and eventually it turned up at a European auction house.
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