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design by Lodewijck van Schoor; cartoon by Lodewijck van Schoor (figures) and Pieter Spierincx (background); woven in Brussels in the workshop of Albert Auwercx

America, c. 1700

Not on View

Medium

tapestry: undyed wool warp; dyed wool, silk, and silver-wrapped silk weft

Dimensions

overall: 386 x 589.3 cm (151 15/16 x 232 in.)

Credit Line

Gift of James Hazen Hyde

Accession Number

1959.5.1

Artists / Makers

Lodewijck van Schoor (designer) Flemish, 1666 - 1726

Pieter Spierincx (designer) Flemish, 1635 - 1711

Albert Auwercx (weaver) Flemish, active 1657/1680

Image Use

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Inscription

on central sphere of upper border: AMERICA; on foremost ingot at lower right: L. VAN SCHOOR. IN. & PINX.; in the lower galloon, left of center, the Brussels city mark: B [shield] B; in the lower galloon, right of center: A.AVWERCX.

Provenance

Purchased before 1914 at a private sale in France by James Hazen Hyde [1876-1959], Paris;[1] bequest 1959 to NGA.

[1] Letter, 30 August 1924, James Hazen Hyde to Lewis Einstein, in which Hazen writes: "I bought it at a private sale before the war." (James Hazen Hyde Papers, The New-York Historical Society, New York, correspondence folder: Lewis Einstein). See also James Hazen Hyde, "L'Iconographie des Quatre Parties due Monde dans les tapisseries," Gazette des Beaux-Arts 10 (November 1924): 260.

Associated Names

Hyde, James Hazen

Exhibition History

1931: Quatre Siècles de Colonisation Française, Bibliothèque Nationale, Paris, 1931, no. 419.

1971: Extended loan for use by the Ambassador, U.S. Department of State, Paris, France, 1971-1975.

1975: The European Vision of America, National Gallery of Art, Washington, D.C.; Cleveland Museum of Art; Grand Palais, Paris, 1976-1977, no. 123, repro. (shown only in Washington).

Bibliography

1924: Hyde, James Hazen. "L'Iconographie des quatre parties du monde dans les tapisseries." Gazette des Beaux-Arts per. 5, vol. 10 (1924): 260.

2013: Arizzoli, Louise. "James Hazen Hyde and the Allegory of the Four Continents: A research collection for an amateur art historian." Journal of the History of Collections 25, no. 2 (2013): 277-286, esp. 277, 284.