Believed to have been commissioned for The Vyne, the tapestries were created in the early 1700s in the London workshop of John Vanderbank. The leading tapestry weaver of the period, he was the first to introduce the style later known as ‘chinoiserie’ to tapestries.
Fascination with the East was widespread in the 18th century thanks to increased trade. Western craftsmen were keen to mimic the decoration of imported wares and scenes from books of illustrated travel descriptions. The result was a hotch-potch of Chinese, Indian, Japanese and Turkish cultural influences, creating highly fictionalised designs later known as ‘chinoiserie’.
The tapestries clearly reflect Vanderbank’s romanticised and exaggerated European view of Asian art and culture. Monkeys, wild cats, enormous insects and birds are scattered across the textiles. There are beautiful pagodas, groups of figures in flowing robes with musical instruments, and fantastical deities. Set against a rich brown background, the tapestries aimed to imitate the popular imported Japanese and Chinese screens whose vibrant designs were carved into black lacquer.
The Vyne’s senior collections and house officer Dominique Shembry explains: “We may think that recycling and adapting what you have for a new decorative scheme is a modern concept, but back in the 19th century, The Vyne’s financially squeezed owner Wiggett Chute cut up these sumptuous tapestries that were already well over a hundred years old, to line the walls of his new billiard room.
“Wiggett wanted a cosy space to escape to, away from his eleven children, and with the tapestries added, the billiard room became a more inviting place to relax in. And they certainly provided an atmospheric backdrop to the room’s dark panelling and imposing fireplace. However, in doing his makeover Chute managed to mis-match some sections to make them fit, so you’ll see half a bird for instance, and the end of a pagoda is missing.”
