Tapestry: Woven Pictorial Textiles from Medieval to Modern
A tapestry is a weft-faced woven textile in which colored threads are interlocked by hand on a loom to create pictorial or decorative compositions. Tapestry weaving has been practiced since antiquity, but the art form reached its zenith in the workshops of Flanders, France, and England between the 14th and 18th centuries. Major historical centers include Arras, Brussels, Aubusson, Beauvais, and the Gobelins manufactory in Paris. Antique tapestries served as architectural decoration, insulation, and displays of wealth in castles, churches, and palaces across Europe.
Types and Origins
- Flemish/Brussels tapestries (15th-17th c.): The finest medieval and Renaissance tapestries, featuring complex figural scenes, millefleurs backgrounds, and elaborate borders. Weavers' marks and city marks appear on selvages.
- Aubusson tapestries (17th-20th c.): Produced in the Creuse region of France. Flat-woven (no pile), typically featuring pastoral scenes, floral compositions, and verdure (landscape) subjects. More affordable than Gobelins.
- Gobelins tapestries (1662-present): The French royal manufactory, producing the most prestigious tapestries. Pieces bear the Gobelins mark and are exceptionally fine in weave density.
- Beauvais tapestries (1664-1940): Renowned for furniture coverings and decorative panels with chinoiserie and mythological subjects.
- English tapestries: Mortlake (1619-1703) and later Barcheston produced notable English examples, often after Continental designs.
- Verdure tapestries: A broad category depicting foliage, trees, and landscape without prominent figures. Popular from the 16th century onward and among the most available antique tapestries.
Identification and Dating
Authentic antique tapestries are identified by construction, materials, and stylistic analysis. Key indicators:
- Weave density: Measured in warps per inch. Brussels tapestries typically range from 14-20 warps per inch; Gobelins may exceed 20.
- Materials: Pre-19th century tapestries use wool warp with wool, silk, and occasionally metallic (gold, silver) wefts. Synthetic fibers indicate 20th-century production.
- Selvage marks: Brussels required weavers' marks and city marks (a red shield between two B's) from 1528. Aubusson pieces often carry workshop initials.
- Dyes: Natural dyes (indigo, madder, weld) are characteristic of pre-1860 production. Aniline dyes post-date the 1850s.
Auction Price Ranges
| Item | Era | Condition | Typical Price Range |
|---|---|---|---|
| Brussels mythological panel (large) | 16th-17th c. | Good, some restoration | $15,000 - $80,000 |
| Aubusson verdure tapestry (6'x8') | 18th c. | Good, minor repairs | $3,000 - $10,000 |
| Flemish millefleurs fragment | 15th-16th c. | Fair, losses | $5,000 - $25,000 |
| Aubusson furniture panel (seat cover) | 18th-19th c. | Very good | $500 - $2,000 |
| Gobelins panel (documented) | 18th c. | Good | $20,000 - $100,000+ |
| English Mortlake panel | 17th c. | Fair | $5,000 - $20,000 |
| Verdure landscape (5'x7') | 17th-18th c. | Good | $2,000 - $8,000 |
| Machine-woven reproduction | 19th-20th c. | Good | $200 - $1,000 |
Condition Factors
Tapestries are textile objects and vulnerable to light damage, moth damage, moisture, and mechanical wear. Faded colors (particularly blues and greens from fugitive plant dyes) are common. Restoration and reweaving are standard in the trade; skillful conservation is acceptable and expected, but extensive reweaving reduces value. Check for areas where original weft has been lost and replaced with flat patches. Silk highlights deteriorate faster than wool ground and are often the first elements lost. Backing fabrics (lining) should be intact and supportive without concealing damage.
Collecting Tips
Verdure tapestries offer the most accessible entry into antique tapestry collecting, with smaller panels (4-6 feet) available from $1,500-$5,000. Aubusson tapestries provide excellent value relative to Gobelins and Brussels examples. When purchasing, always examine the reverse side--this reveals the true condition of the weave structure and any hidden repairs. Provenance from documented European collections adds significant value. Machine-woven reproductions (Jacquard looms) from the 19th century are sometimes misrepresented as hand-woven; the reverse side of a machine-woven piece will show a uniform, regular texture quite different from hand weaving. Size matters in the tapestry market--room-sized pieces command strong prices from decorators and institutions, while smaller panels appeal to private collectors.