1.5 Albrecht V, Duke of Bavaria
In the same era, the Bavarian branch of Wittelsbach also acquired numerous textiles. The most eager patron in the field of tapestries – and art in general – was probably Albrecht V, Duke of Bavaria (1528-1579). His collection is estimated at over 160 tapestries in an inventory drawn up in 1571.1 Thanks to several documents we know that Albrecht bought three major series in Antwerp around 1565.2 Fortunately, these pieces have survived and are now preserved in the Bayerisches Nationalmuseum, Munich.
The most spectacular ensemble is a series of the Labours of Hercules [15].3 Commissioned by the Duke for the great hall of his palace in Dachau, it consisted of 13 wall pieces and ten oblong pieces that were hung above the windows. The Duke initially wanted to employ a team of Flemish weavers in Munich. His agent in Antwerp was Hans Fugger vom Reh (c. 1516-1565) from the family branch established in Nuremberg. Since 1538, Hans Fugger was in charge of all the business of the entire family in Antwerp. He supplied tapestries to Mary of Hungary and, for instance, to Christoph Frieseneger, the agent of Emperor Maximilian II.4
Hans Fugger had pointed out to the Duke of Bavaria that an ordinary tapestry from Enghien or Oudenaarde would cost between six and 11 shillings the yard, whilst that of Brussels and Antwerp cost between 11 and 25 shillings, and that the weaver, who had some 12 to 20 journeymen, was reluctant to travel to Bavaria to make it.5 The Duke therefore finally commissioned one in Antwerp from Michiel de Bos, a set in blue and white (his heraldic colours) representing the theme of Hercules, considered to be an ancestor of the Wittelsbachs, after Frans Floris [16].
Until recently, the circumstances surrounding Albrecht’s other two purchases were unknown: the series of the Seven Planets and the Story of St. Paul, both made of silk, gold and silver.6 These two series were by far the most expensive acquired by the Duke. Thanks to the recent discovery of an inventory kept in Antwerp, Edmond Roobaert was able to give the Fugger family an important role in these two purchases.7 The activity of the Fuggers relating to the tapestry business throughout the 16th century deserves far more study. The sources reveal that they were involved not only in the weaving, but also that they personally owned tapestries and cartoons.
15
tapestry workshop of Michiel de Bos after Frans Floris (I) and after Cornelis Cort
Labours of Hercules, c. 1565
Munich, Bayerisches Nationalmuseum, inv./cat.nr. BSV WA0072
16
Cornelis Cort after Frans Floris (I)
Hercules carries the heavens on his shoulders, dated 1563
Leiden, Universitaire bibliotheken Leiden - Bijzondere collecties
Notes
1 Schmitz-von Ledebur 2009, p. 16-18.
2 Buchanan 2016.
3 Bayerisches Nationalmuseum, Munich, inv. BSV WA0065-77. See Buchanan 1994.
4 The most powerful branch in Augsburg was known as Fugger von der Lilie. See Ehrenberg 1963; Häberlein 2012; Buchanan 2016.
5 See the letters in Buchanan 1994.
6 The Seven Planets. Design by Michiel Coxcie (?), woven in Brussels, ca. 1560-63. Wool, silk, silver- and gilt-metal-wrapped thread. Bayerisches Nationalmuseum, Munich (inv. T 3848 to T3854); The Life of Saint Paul. Design by Pieter Coecke van Aelst, c. 1529, woven under the direction of Frans van den Bossche, Brussels, before 1563. Wool, silk, silver- and gilt-metal-wrapped thread. Bayerisches Nationalmuseum, Munich (inv. T3844.1, T3845, T3846, T3856, T3857, T71/8-11). See Delmarcel in Cleland 2014, p. 124-135; Buchanan 2016.
7 Roobaert 2010, p. 16.