From high up in a tree, a scout announces to the hunters that he has spotted the prey. But only he can see it—neither the hunters nor we the viewers can see what we presume must be a unicorn lurking in the dense forest.
Despite the presence of the entwined initials A and E, this tapestry is distinct from others that are nearby in the exhibition in portraying the characters against a ground covered by flowers, with no hint of a landscape. In that way, it more closely resembles the hanging with the captive unicorn.
#63. The Hunters Enter the Woods (from the Unicorn Tapestries)
Medium:Wool warp, wool, silk, silver, and gilt wefts
Dimensions:Overall: 145 x 124in. (368.3 x 315cm)
Classification:Textiles-Tapestries
Credit Line:Gift of John D. Rockefeller Jr., 1937
Accession Number:37.80.1
Inscription: (on each corner and center): A [image of a knot] E [reversed] (unidentified) (on dog collar; twice): AE (on dog collar bearing arms; twice): A
Marking: Arms (on dog collar on right): Quarterly, 1 and 4, barry of six or and azure, the first two bars debruised by three roses gules, seeded proper; 2 and 3, or, three escutcheons gules.
Comtes de La Rochefoucauld, France ; François VI de La Rochefoucauld French, Paris (in 1680) ; François VIII de La Rochefoucauld, château de Verteuil, Charente (in 1728) ; Château de Verteuil, Charente (said to have been looted in 1793) ; Comtes de La Rochefoucauld, château de Verteuil, Charente (in 1856) ; Comte Aimery de La Rochefoucauld, château de Verteuil, Charente (until 1923) ; Mr. and Mrs. John D. Rockefeller Jr. American (in 1923 through Edouard Larcade–until 1937)
Anderson Galleries. "Exhibited by Edouard Larcade," 1922.
The Metropolitan Museum of Art. "French Gothic Tapestries," May 25–September 16, 1928.
New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.
Galeries nationales du Grand Palais. "Masterpieces of Tapestry from the 14th to the 16th century," October 27, 1973–January 7, 1974.
New York. The Metropolitan Museum of Art. "Masterpieces of Tapestry from the 14th to the 16th century," February 8–April 21, 1974.
New York. The Metropolitan Museum of Art. "The Unicorn Tapestries," July 1–September 6, 1998.
New York. The Cloisters Museum & Gardens. "Search for the Unicorn: An Exhibition in Honor of The Cloisters' 75th Anniversary," May-14-Aug-18-2013.
Breck, Joseph. "The Tapestry Exhibition: Part I." The Metropolitan Museum of Art Bulletin, o.s., 23, no. 6 (June 1928). pp. 147–50.
Catalogue of a Loan Exhibition of French Gothic Tapestries. New York: The Metropolitan Museum of Art, 1928. no. 4–9, pp. 18–21.
Migeon, Gaston. Les Arts du Tissu. Manuels d'histoire de l'art. Revised ed. Paris: Henri Laurens, 1929. p. 326.
Cross Marquand, Eleanor. "Plant Symbolism in the Unicorn Tapestries." Parnassus 10, no. 5 (October 1938). pp. 2–8.
Rorimer, James J. "New Acquisitions for the Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 33, no.5, part 2 (May 1938). pp. 14–17.
Lief, Zola. "The Cloisters." The Compleat Collector 3, no. 7 (May 1943). p. 4.
Rorimer, James J., and William Holmes Forsyth. "The Medieval Galleries." The Metropolitan Museum of Art Bulletin, n.s., 12, no. 6 (February 1954). p. 121.
Stoddard, Whitney S. Monastery and Cathedral in France: Medieval Architecture, Sculpture, Stained Glass, Manuscripts, the Art of the Church Treasuries. Middletown, CT: Wesleyan University Press, 1966. pp. 357–59.
Coffinet, Julien. Arachné ou L'art de la tapisserie. Paris: Bibliothèque des arts, 1971. pp. 201–203, 205.
Freeman, Margaret B. "The Unicorn Tapestries." The Metropolitan Museum of Art Bulletin, n.s., 32, no. 1 (1973-1974). pp. 178–183.
Souchal, Geneviève, ed. Chefs-d'œuvre de la tapisserie du XIVe au XVIe siècle. Paris: Galeries nationales du Grand Palais, 1973. no. 18–24, pp. 76–86.
Souchal, Geneviève, ed. Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. New York: The Metropolitan Museum of Art, 1974. no. 18–24, pp. 69–79.
Freeman, Margaret. The Unicorn Tapestries. New York: The Metropolitan Museum of Art, 1976. no. 1, discussed and ill. thoughout.
Young, Bonnie. A Walk Through The Cloisters. New York: The Metropolitan Museum of Art, 1979. pp. 65–75.
Crockett, Lawrence J. "The Identification of a Plant in the Unicorn Tapestries." Metropolitan Museum Journal 17 (1982). pp. 15–22, fig. 1, 3, 10.
Nickel, Helmut. "About the Sequence of the Tapestries in The Hunt of the Unicorn and The Lady with the Unicorn." Metropolitan Museum Journal 17 (1982). pp. 9–14, fig. 1.
Cavallo, Adolfo S. Medieval Tapestries in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1993. no. 20a, pp. 14, 297–327.
Cavallo, Adolph S. The Unicorn Tapestries at the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1998. no. 1.
Franke, Birgit. Assuerus und Esther am Burgunderhof: Zur Rezeption des Buches Esther in den Niederlanden (1450 bis 1530). Berlin: Gebr. Mann, 1998. p. 119.
Campbell, Thomas P., ed. Tapestry in the Renaissance: Art and Magnificence. New York: The Metropolitan Museum of Art, 2002. pp. 70–79.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 117, pp. 160–61, 199.
Piccat, Marco. "Le lettere nascoste: Caterina d’Aragona e le tappezzerie del liocorno. Musée de Cluny (Parigi)." Locus Amœnus 10 (2009–2010). p. 18.
Colburn, Kathrin. "Three Fragments of the Mystic Capture of the Unicorn Tapestry." Metropolitan Museum Journal 45 (2010). pp. 97–106, fig. 2.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. pp. 168–69.
Husband, Timothy B. "Creating the Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 70, no. 4 (Spring 2013). pp. 15–17, 43–45.
Taburet-Delahaye, Elisabeth, ed. La Dame à la licorne et l'art européen autour de 1500 dans les collections du musée de Cluny, Paris. Paris (?): Musée National du Moyen Âge - Thermes et Hôtel de Cluny, 2013. p. 67, fig. 1.
Boehm, Barbara Drake. "A Blessing of Unicorns: The Paris and Cloisters Tapestries." The Metropolitan Museum of Art Bulletin 78, no. 1 (Summer 2020). pp. 38–9, 43–4, fig. 3.
Travel back in time with a medieval look inspired by The Met’s beloved The Unicorn Tapestries and see how you can replicate one of the hunters from the tapestries using makeup.
Philippe de Montebello, former Director of The Met, guides viewers through The Cloisters, pointing out Romanesque and Gothic architecture and artwork, beautiful tapestries, and the diverse species in the gardens. He outlines the history of the building and its many influences and highlights significant works of art in the collection.
Produced for the 1974 exhibition Masterpieces of Tapestry, this short form recounts the tale depicted in “The Unicorn Tapestries” and explains the symbolic meaning of these mythic creatures, including their purifying and restorative powers.
Antibody-based techniques are applied in the field of conservation science to identify and localize the various kinds of proteins used in objects of cultural heritage, revealing insights into materials and techniques used by artists and craftspeople.
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