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The Triumph of Fame is one of a set of six tapestries, the other five of which are now lost, based on Petrarch's Trionfi. It was created probably in Brussels, by an unknown workshop. This work, or one identical to it, was bought by Queen Isabella of Spain and Castile in 1504. This tapestry uses a silk weft that covers the wool warp.
In 1629, their sons Charles de Comans and Raphaël de la Planche took over their fathers' tapestry workshops, and in 1633, Charles was the head of the Gobelins manufactory. [3] Their partnership ended around 1650, and the workshops were split into two. Tapestries from this early, Flemish period are sometimes called pre-gobelins.
The Överhogdal tapestries were found in the vestry of Överhogdal Church (Överhogdals kyrka) in the Diocese of Härnösand by Jonas Holm (1895-1986) in 1909 during the renovation of the church. The tapestries were brought to Östersund in 1910 by the artist Paul Jonze (1883-1973) and the County Governor's wife Ellen Widén , who was a ...
European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art. (2 vols.). New York: The Metropolitan Museum of Art. ISBN 0-87099-406-9. Wingfield Digby, G F (1980). The Victoria and Albert Museum. The Tapestry Collection : Medieval and Renaissance. London: Her Majesty's Stationery Office. ISBN 0-11-290246-4.
The company's Pomona (1885) and The Achievement of the Grail (1895–96) tapestries demonstrate an adherence to the medieval millefleur style. Other tapestries such as their The Adoration of the Magi (1890) and The Failure of Sir Gawain (c. 1890s) use the style more liberally, borrowing the flowers' often flat, splayed appearance, but ...
The tapestries were very probably woven in Brussels, [10] which was an important center of the tapestry industry in medieval Europe. [11] An example of the remarkable work of the Brussels looms, the tapestries' mixture of silk and metallic thread with wool gave them a fine quality and brilliant color. [12]