The J. Paul Getty Museum

Tapestry: Jupiter transformé en Diane pour surprendre Callisto avec Vertumne et Pomone, from Les Tentures de François Boucher Series

Object Details

Title:

Tapestry: Jupiter transformé en Diane pour surprendre Callisto avec Vertumne et Pomone, from Les Tentures de François Boucher Series

Artists/Makers:

After painting by François Boucher (French, 1703 - 1770)

and after designs by Maurice Jacques (French, about 1712 - 1784)

and after designs by Louis Tessier (French, about 1719 - 1781)

and Jacques Neilson (British, Scottish, about 1718 - 1788)

Royal Factory of Furniture to the Crown at the Gobelins Manufactory (French, founded 1662)

Culture:

French

Place:

France (Place Created)

Date:

1776–1778

Medium:

Wool and silk; modern linen lining

Object Number:

71.DD.466

Dimensions:

383.5 × 624.8 cm (151 × 246 in.)

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Object Description

This tapestry contains two scenes taken from Ovid's Metamorphoses. At first glance, both scenes appear to show two female lovers in a wooded landscape. But the goddess of the hunt on the left actually represents the god Jupiter, who has taken the form of Diana in order to seduce one of her followers. The eagle with thunderbolts in its claws, a symbol of Jupiter, is a clue to his presence.

On the right, an old woman in heavy robes is really Vertumnus, the god of orchards, disguised in order to enter the garden of Pomona, the young goddess of gardens. Identified by her attributes of fruit, flowers, and a watering can, she suspects nothing and dreamily listens to Vertumnus, who sits beside her.

Imitating paintings, these roundels are set in oval frames, with the artist François Boucher's signature woven into the right scene. A decorative setting known as an alentours surrounds the two simulated paintings. As in the other tapestries in this set, thick garlands of flowers, exotic birds, and metalwork vases fill this border. Musical and hunting trophies hang beneath each roundel.

The tapestry is based on designs by Maurice Jacques, Louis Tessier, and Jacques Neilson.

Provenance
Provenance
- 1782

Louis XVI, King of France, French, 1754 - 1793, given as one of a set of four tapestries to Grand Duke Paul Petrovitch and Grand Duchess Maria Feodorovna of Russia in 1782.

1782 - 1801

Grand Duke Paul Petrovitch of Russia, later Czar Paul I, 1754 - 1801 and Grand Duchess Maria Feodorovna of Russia, German, 1759 - 1828 (hung initially in the Grand Duke's Cabinet des tapisseries, and later moved to the Grand Duchess's library, at the Palace of Pavlovsk, near St. Petersburg, Russia), entered the Russian Imperial Collection, 1801.

1801 - 1918

Russian Imperial Collection (Palace of Pavlovsk, near Saint Petersburg, Russia), nationalized along with the Palace of Pavlovsk and all its contents during the revolution, April 1918.

1918 - 1932

Soviet government (Palace of Pavlosk; delivered to the Antikvariat (Central Office for the Purchase and Realization of Antique Objects) on September 17, 1931), sold from the Antikvariat to Duveen Brothers, Inc., 1932.

1932 - 1964

Duveen Brothers, Inc. (New York City, New York)
Source: Duveen Bros. Records, Pavlovsk Palace Collection, GRI, 960015, b.271, f.23; Correspondence: Carlhian et Cie, 1946-1961, b.356, f.1; Photographs and inventories [...], 1920s, Duveen Stock Documentation, GRI, 2007.D.1, b.673, f.3, b.676, f.3, b.677.

1964 - 1971

Norton Simon, American, 1907 - 1993
Source: Duveen Bros. Records, Edward Fowles papers, 1907-1981: Edward Fowles Correspondence with Norton Simon, 1961-1974, GRI, 960015, b. 407, f. 3-4. Listed under the stock number 29618.

-

through The Norton Simon Foundation [sold as one of a set of four tapestries, Parke-Bernet, New York, May 8, 1971, lot 233, to the J. Paul Getty Museum]

Exhibitions
Exhibitions
Great Periods of Tapestry (February 3 to 28, 1961) (lent by Duveen Brothers, Inc.)
  • Allentown Art Museum (Allentown), February 3 to February 28, 1961
The J. Paul Getty Collection (June 29 to September 3, 1972)
  • The Minneapolis Institute of Art (Minneapolis), June 29 to September 3, 1972
War and Peace, A German Empress at the Castle of Pavlovsk (November 9, 2001 to February 10, 2002) (pp. 322-323)
  • Haus der Kunst (Munich), November 9, 2001 to February 10, 2002
Bibliography
Bibliography

Benois, Alexandre. Les Trésors d'art en Russie. 7 vols. (St. Petersburg: Izdanie Imperatorskago obshchestva pooshchreniia khudozhestv/Издание Императорского общества поощрения художеств, 1901-1907), vol. 3 (1903), pp. 293-94, 375.

Fenaille, Maurice. Etat général des tapisseries de la Manufacture des Gobelins (Paris: Imprimerie nationale: Hachette, 1903), vol. 4, pp. 285-87.

Polovtsoff, Alexandre. Les Trèsors d'Art en Russie sous le régime Bolcheviste (Paris: Société Française d'Imperimerie et de Librairie, 1919), pp. 42-43.

Hunter, George Leland. The Practical Book of Tapestries (Philadelphia: J. B. Lippincott Company, 1925), p. 190.

Conway, Martin. Art Treasures in Soviet Russia (London: Edward Arnold & Co, 1925), p. 125.

Ackerman, Phyllis. Tapestry: the Mirror of Civilization (New York: Oxford University Press, 1933), p. 277, pl. 45.

Great Periods of Tapestry, exh. cat. (Allentown, PA: Allentown Art Museum, 1961), plate XXIV (lent by Duveen Brothers).

Dauterman, Carl Christian, James Parker, and Edith Appleton Standen. Decorative Art from the Samuel H. Kress Collection at the Metropolitan Museum of Art: The Tapestry Room from Croome Court, Furniture, Textiles, Sèvres Porcelains, and Other Objects (London: Phaidon Press for the Samuel H. Kress Foundation, 1964), p. 52, in the entry by Standen, "The Tapestry Room from Croome Court.".

Jarry, Madeleine. "A Wealth of Boucher Tapestries in American Museums." Antiques (August 1972), pp. 222-31.

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Fowles, Edward. Memories of Duveen Brothers (London: Times Books, 1976), pp. 195, 198, ill. between pp. 104-5.

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Standen, Edith A. "Boucher as a Tapestry Designer." François Boucher 1703-1770, exh. cat. (New York: Metropolitan Museum of Art, 1986), pp. 325-33.

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Iljine, Nicolas, and Natalia Semenova, eds. Проданные Сокровища России (Prodannye Sokrovishcha Rossii) (Moscow: Russkiy Avantgard, 2000), pp. 98-99, ill.

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