February

Textiles

before 1528

After a design by an unidentified Flemish artist in the circle of Bernard Van Orley (c. 1488-1541)
Brussels

Status: Currently Off View
Department: Textiles

Artists: Circle of Bernard van Orley , Bernard van Orley
Title: February, February from The Medallion Months
Places: Flanders (Object made in:), Brussels (Object made in:)
Dates: Designed 1520-1530 , Made 1520-1528
Medium: Wool and silk, slit and double interlocking tapestry weave Warp: Count: 6 warps per cm; wool: S-ply of six Z-spun elements; ; diameters: 0.8–1.0 mm Weft: Count: varies from 26 to 60 wefts per cm; wool: S-ply of two Z-spun elements; pairs of S-ply of two Z-spun elements; diameters: 0.2–1.0 mm; silk: pairs of S-ply of two Z-twisted elements; diameters; 0.25–0.7 mm
Inscriptions: FEBRVARIVS; CIRCIVS; [B]OREAS
Dimensions: 402 × 427.3 cm (158 × 169 in.)
Credit Line: Gift of Mrs. Chauncey McCormick and Mrs. Richard Ely Danielson
Reference Number: 1950.1578
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/73058/manifest.json

Phillis Ackerman, Tapestry, a Mirror of Civilization (Oxford University Press, 1933), 380, no. 15.
Robert B. Harshe and Daniel Catton Rich, Handbook of the House, Formal Gardens and Foundation of Vizcaya: An Italian Palazzo in a Tropical Setting, Home of the Late James Deering, Deering Plaza, Miami, Florida (Chicago: Art Institute of Chicago, 1934), 7.
Edith A. Standen, “Drawings for the ‘Months of Lucas’ Tapestry Series,” Master Drawings 9 (Spring 1971): 3-14, n. 15.
Edith A. Standen, “Studies in the History of Tapestry 1520-1790,” Apollo 114, no. 322 (July 1981): 25.
Edith A. Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art, vol. 1 (New York: Metropolitan Museum of Art, 1985), 45.
Piero Boccardo, Andrea Doria e le arti: committenza e mecenat ismo a Genova (Palombi, 1989), 79, 86, n. 21.
Candace J. Adelson, European Tapestry in the Minneapolis Institute of Art (Minneapolis: Minneapolis Institute of Arts, 1994), 87, 90, nn. 28, 30, fig. 35.
Ebeltje Hartkamp-Jonxis and Hillie Smit, eds., European Tapestries in the Rijksmuseum. Catalogues of teh Decorative Arts in the Rijksmuseums, Amsterdam 5 (Amsterdam: Rijksmuseum/Waanders, 2004), 71.
Jean Vittet, “Les tapisseries de Michel Particelli d’Hemery et de son genere Louis Phelypeaux de La Vrilliere.” In Objets d’art” Melanges en l’honneur de Daniel Alcouffe (Faton, 2004), 176.
Piero Boccardo, “Le ‘tapezzarie finissime di Fiandra’ a Genova nel Cinqueccento.” In Genova e l’Europa atlantica: Opere, artisti, committenti, collezionisti: Inghilterra, Fiandre, Portogallo, ed. by Piero Boccarod, Clario Di Fabi, and Gianluca Ameri (Silvana, 2006), 113, 130, n. 11.
Koenraad Brosens, ed., Christa C. Mayer Thurman, gen. ed., European Tapestries in the Art Institute of Chicago, exh. cat., [exhibition: “The Divine Art: Four Centuries of European Tapestries in the Art Institute of Chicago”] (Chicago: Art Institute of Chicago, 2008) 82-93, cat. 9A (ill.).

Art Institute of Chicago, Regenstein Hall, The Divine Art: Four Centuries of European Tapestry, Nov. 1, 2008–Jan. 4, 2009.

Possibly Marie Particelli (died 1670), Hôtel La Vrillière, Paris, by 1672; possibly by descent to her husband, Louis Phélypeaux de La Vrillière (died 1681), to at least 1684. Jacques Seligmann, to 1914; sold, Galerie George Petit, Paris, Mar. 16-17, 1914, lot 222, to Lehmann Bernheimer, Munich; sold to James Deering (died 1925), Vizcaya, Miami, June 18, 1914; by descent to his nieces, Mrs. Chauncey McCormick (born Marion Deering, died 1965) and Mrs. Ely Danielson (born Barbara Deering, died 1982); given to the Art Institute of Chicago, 1950.

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

Currently Off View

Status

Department

Artists

Title

Places

Dates

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.

Explore Further

Suggested Terms

Currently Off View

Date:

Artist:

About this artwork

Status

Department

Artists

Title

Places

Dates

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.