The use of tapestry hangings to commemorate military exploits has a long history. While for Renaissance audiences battles were often depicted full of violence and slaughter, the seventeenth century saw the emphasis move towards a celebration of the glorious commander, and the nobility of the victor. An exceptional example was set with the series Histoire du Roi woven for Louis XIV at the Gobelins in France from the 1660s, with scenes including his military victories. In the 1690s, a series of scenes of army life was woven in Brussels, designed by Lambert de Hondt for Elector Maximillian Emmanuel of Bavaria and subsequently commissioned by others including King William III; a document recording his purchase in 1700 provides its name, “d’Exercitie van den Oorloghe”, usually translated as the Art of War.
One of the other purchasers of this first version of the Art of War series was John Churchill, 1st Duke of Marlborough. He later owned another series of tapestries depicting military scenes, this time his own victories in the War of the Spanish Succession. The relationship between them and a second version of the Art of War series was the subject of an important study by Alan Wace, incorporating research carried out in the 1930s, but published posthumously in 1968. Following the gift to the V&A of seven Art of War tapestries in 1972 from Mrs Josa Finney, Wendy Hefford undertook further research on the design and relationship between the different series, published in 1975 (see bibliography) .
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| - The use of tapestry hangings to commemorate military exploits has a long history. While for Renaissance audiences battles were often depicted full of violence and slaughter, the seventeenth century saw the emphasis move towards a celebration of the glorious commander, and the nobility of the victor. An exceptional example was set with the series Histoire du Roi woven for Louis XIV at the Gobelins in France from the 1660s, with scenes including his military victories. In the 1690s, a series of scenes of army life was woven in Brussels, designed by Lambert de Hondt for Elector Maximillian Emmanuel of Bavaria and subsequently commissioned by others including King William III; a document recording his purchase in 1700 provides its name, “d’Exercitie van den Oorloghe”, usually translated as the Art of War.
One of the other purchasers of this first version of the Art of War series was John Churchill, 1st Duke of Marlborough. He later owned another series of tapestries depicting military scenes, this time his own victories in the War of the Spanish Succession. The relationship between them and a second version of the Art of War series was the subject of an important study by Alan Wace, incorporating research carried out in the 1930s, but published posthumously in 1968. Following the gift to the V&A of seven Art of War tapestries in 1972 from Mrs Josa Finney, Wendy Hefford undertook further research on the design and relationship between the different series, published in 1975 (see bibliography) . (en)
- Tapestry 'The March' woven in wool and silk, from 'The Art of War' series, probably after Philipp De Hondt, woven by Judocus de Vos, Brussels, 1718-24 (en)
- Tapestry woven in wool and silk and framed in borders of military trophies with at centre top a larger trophy of flags and lances surmounted by trumpets crossed through a laurel wreath. The lower trophy is of saddles, bundles, harness, trunks and riding boots.
In the centre a group of mounted officers attended by messengers and servants, one a black African, and following them is a long file of mounted men and foot soldiers winding across the distant plain. The commander of the army is mounted on a white horse and holding a baton, and leads the foreground group. Watching the scene on the ground at the left are a countryman and a woman nursing a child.
Woven with 20 warp threads to the inch. (en)
- In 1972 Mrs Josa Finney gave to the Museum in memory of her late husband Oswald James Finney seven Brussels tapestries with a common theme. These were the Art of War tapestries which Mr Finney had collected from different sources. Among his seven purchases were five Art of War tapestries from one of the leading sets of this series, made by Judocus de Vos for Augustus the Strong of Saxony, an opponent of the Duke of Marlborough in the War of the Spanish Succession who, by a quirk of fate, purchased around 1718-20 a set of tapestries which included the figures of Marlborough and his officers at their moment of greatest triumph winning the Battle of Blenheim. The five tapestries which Mr Finney purchased from the Saxony set included the subjects of The March, The Siege, The Ambush, The Camp, and Cutting Fascines. To these he added two more pieces from the same set of cartoons, though not from the same set, Pillage and The Halt. Besides their importance as an appreciable augmentation of our early 18th century Brussels tapestries, these pieces give a fascinating picture of warfare and campaigning at the time of the War of the Spanish Succession.
All seven tapestries were displayed in 1973-75, and five featured in an exhibition entitled War and Peace in 1977, and were shown again in the following year. Unfortunately lack of space in this exhibition prevents the present display of more than two piece, for the proportions of this magnificent gift would exclude most of the other exhibits. [October 1980] (en)
- The use of tapestry hangings to commemorate military exploits has a long history. For Renaissance audiences battles were often depicted full of violence and slaughter, but the 17th century saw the emphasis move towards a celebration of the glorious commander, and the nobility of the victor. An exceptional example was set with the series Histoire du Roi woven for Louis XIV at the Gobelins in France from the 1660s, with scenes including his military victories. In the 1690s, a series of scenes of army life was woven in Brussels, designed by Lambert de Hondt for Elector Maximillian Emmanuel of Bavaria and subsequently commissioned by others including King William III; a document recording his purchase in 1700 provides its name, “d’Exercitie van den Oorloghe”, usually translated as the Art of War.
This tapestry is from a second series of The Art of War dating from the early 18th century, woven by de Juducos de Vos and probably designed by Philipp de Hondt. It is believed to be from a set of that subject which was made for Augustus the Strong of Saxony. (en)
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| - The use of tapestry hangings to commemorate military exploits has a long history. While for Renaissance audiences battles were often depicted full of violence and slaughter, the seventeenth century saw the emphasis move towards a celebration of the glorious commander, and the nobility of the victor. An exceptional example was set with the series Histoire du Roi woven for Louis XIV at the Gobelins in France from the 1660s, with scenes including his military victories. In the 1690s, a series of scenes of army life was woven in Brussels, designed by Lambert de Hondt for Elector Maximillian Emmanuel of Bavaria and subsequently commissioned by others including King William III; a document recording his purchase in 1700 provides its name, “d’Exercitie van den Oorloghe”, usually translated as the Art of War.
One of the other purchasers of this first version of the Art of War series was John Churchill, 1st Duke of Marlborough. He later owned another series of tapestries depicting military scenes, this time his own victories in the War of the Spanish Succession. The relationship between them and a second version of the Art of War series was the subject of an important study by Alan Wace, incorporating research carried out in the 1930s, but published posthumously in 1968. Following the gift to the V&A of seven Art of War tapestries in 1972 from Mrs Josa Finney, Wendy Hefford undertook further research on the design and relationship between the different series, published in 1975 (see bibliography) . (en)
- Tapestry 'The March' woven in wool and silk, from 'The Art of War' series, probably after Philipp De Hondt, woven by Judocus de Vos, Brussels, 1718-24 (en)
- Tapestry woven in wool and silk and framed in borders of military trophies with at centre top a larger trophy of flags and lances surmounted by trumpets crossed through a laurel wreath. The lower trophy is of saddles, bundles, harness, trunks and riding boots.
In the centre a group of mounted officers attended by messengers and servants, one a black African, and following them is a long file of mounted men and foot soldiers winding across the distant plain. The commander of the army is mounted on a white horse and holding a baton, and leads the foreground group. Watching the scene on the ground at the left are a countryman and a woman nursing a child.
Woven with 20 warp threads to the inch. (en)
- In 1972 Mrs Josa Finney gave to the Museum in memory of her late husband Oswald James Finney seven Brussels tapestries with a common theme. These were the Art of War tapestries which Mr Finney had collected from different sources. Among his seven purchases were five Art of War tapestries from one of the leading sets of this series, made by Judocus de Vos for Augustus the Strong of Saxony, an opponent of the Duke of Marlborough in the War of the Spanish Succession who, by a quirk of fate, purchased around 1718-20 a set of tapestries which included the figures of Marlborough and his officers at their moment of greatest triumph winning the Battle of Blenheim. The five tapestries which Mr Finney purchased from the Saxony set included the subjects of The March, The Siege, The Ambush, The Camp, and Cutting Fascines. To these he added two more pieces from the same set of cartoons, though not from the same set, Pillage and The Halt. Besides their importance as an appreciable augmentation of our early 18th century Brussels tapestries, these pieces give a fascinating picture of warfare and campaigning at the time of the War of the Spanish Succession.
All seven tapestries were displayed in 1973-75, and five featured in an exhibition entitled War and Peace in 1977, and were shown again in the following year. Unfortunately lack of space in this exhibition prevents the present display of more than two piece, for the proportions of this magnificent gift would exclude most of the other exhibits. [October 1980] (en)
- The use of tapestry hangings to commemorate military exploits has a long history. For Renaissance audiences battles were often depicted full of violence and slaughter, but the 17th century saw the emphasis move towards a celebration of the glorious commander, and the nobility of the victor. An exceptional example was set with the series Histoire du Roi woven for Louis XIV at the Gobelins in France from the 1660s, with scenes including his military victories. In the 1690s, a series of scenes of army life was woven in Brussels, designed by Lambert de Hondt for Elector Maximillian Emmanuel of Bavaria and subsequently commissioned by others including King William III; a document recording his purchase in 1700 provides its name, “d’Exercitie van den Oorloghe”, usually translated as the Art of War.
This tapestry is from a second series of The Art of War dating from the early 18th century, woven by de Juducos de Vos and probably designed by Philipp de Hondt. It is believed to be from a set of that subject which was made for Augustus the Strong of Saxony. (en)
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