Coypel’s Don Quixote Tapestries Exhibition Video

In order of appearance:

Workshop of Peter van den Hecke (Flemish, 1680–1752) after Philippe de Hondt (Flemish, 1683-1741), Arrival of the Shepherdesses at the Wedding of Camacho, 1730−45 (before 1748). Wool and silk, 10 ft. 3 in x 18 ft. 3 in. (313 x 555.2 cm). Signed, lower right: p.van.hecke [with both n’s in reverse]. The Frick Collection, New York (1965.10.20); photograph Michael Bodycomb

Charles Coypel, Self-portrait, 1746. Oil on canvas, 46 x 35 in. (117 x 89 cm). Musée National de Chateaux de Versailles et de Trianon, Versailles, France (Inv. MV5813) © RMN-Grand Palais / Art Resource, NY, photograph Gérard Blot

Miguel de Cervantes, The Ingenious Gentleman Don Quixote of La Mancha, Part 1 (printed by Juan de la Cuesta, 1605). Biblioteca Nacional de España, Madrid (CERV/118)

Miguel de Cervantes, The Ingenious Gentleman Don Quixote of La Mancha, Part 2 (printed by Juan de la Cuesta, 1615). Biblioteca Nacional de España, Madrid (CERV/119)

Hyacinthe Rigaud (studio of), Louis-Antoine de Pardaillan de Gondrin, duc d'Antin, ca. 1710. Oil on canvas, 54 1/8 x 41 3/8 in. (137.5 x 105 cm). Musée National de Chateaux de Versailles et de Trianon, Versailles, France (Inv. MV5555) © RMN-Grand Palais / Art Resource, NY, photograph Christophe Fouin

Charles Coypel, Sancho Arrives on the Island of Barataria, 1720–22. Oil on canvas, 55 1/8 x 63 in. (140 x 160 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3578) © RMN-Grand Palais / Art Resource, NY

Gobelins Tapestry Manufactory (French) under the direction of Michel Audran (French, 1701−1771) and his son Jean Audran fils (French, d. 1794), main scene after Charles Coypel (French, 1694-1752); alentours after Claude Audran III (French, 1658−1734), Jean-Baptiste Belin de Fontenay fils (French, 1668−1730), and Alexandre-François Desportes (French, 1661−1743), Sancho Arrives on the Island of Barataria, 1772. Wool and silk; modern cotton support straps and lining, 12 ft. 1 in. x 13 ft. 7 in. (368 x 414 cm). Signed, lower right corner of field: audran; lower right corner of border: audran.g.1772. The J. Paul Getty Museum, Los Angeles (82.DD.68); digital image courtesy of the Getty's Open Content Program.

Charles Coypel, The Distressed Countess Trifaldi, Afflicted by Her Beard, Implores Don Quixote to Avenge Her, probably 1716. Oil on canvas, 48 3/8 x 51 in. (123 x 130 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3575) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Asleep, Don Quixote Fights the Wineskins, 1716. Oil on canvas, 48 x 50 3/8 in. (122 x 128 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3560) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Sancho Awakes in Despair at not Finding His Beloved Grison, 1726. Oil on canvas, 55 18 x 63 in. (140 x 160 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3557) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Doña Rodríguez, Conversing in the Night with Don Quixote, Is Surprised by the Duchess's Damsels, probably 1717. Oil on canvas, 47 1/4 x 50 3/8 in. (120 x 128 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3583) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Sancho Panza Asks the Duchess to Grant Don Quixote Permission to See Her, 1716. Oil on canvas, 48 x 50 in. (122 x 127 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3570) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Don Quixote Mistakes Puppets for Moors and Believes He Is Rescuing Two Runaway Lovers, 1716. Oil on canvas, 46 x 50 3/8 in. (117 x 128 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3569) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Don Quixote Mistakes the Basin of a Barber for the Helmet of Mambrino, 1716. Oil on canvas, 47 1/4 x 50 3/4 in. (120 x 129 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3556) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, The False Princess Micomicona Pleas with Don Quixote to be Restored to the Throne, 1716. Oil on canvas, 47 1/4 x 5 3/8 in. (120 x 128 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3559) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Don Quixote Bound to the Window by the Mischief of Maritornes, 1717. Oil on canvas, 48 3/8 x 52 3/4 in. (123 x 134 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3562) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Don Quixote Believes He Is Receiving the Order of Knighthood at the Inn, probably 1715–16. Oil on canvas, 47 1/4 x 5 3/8 in. (120 x 128 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3555) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Sancho Departs for the Island of Barataria, 1717. Oil on canvas, 48 3/8 x 51 1/8 in. (123 x 130 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3577) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, The Cowardice of Sancho at the Hunt, 1725. Oil on canvas, 55 1/8 x 63 in. (140 x 160 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3573) © RMN-Grand Palais / Art Resource, NY

Gobelins Tapestry Manufactory (French) under the direction of Michel Audran (French, 1701−1771) and his son Jean Audran fils (French, d. 1794), main scene after Charles Coypel (French, 1694-1752); alentours after Claude Audran III (French, 1658−1734), Jean-Baptiste Belin de Fontenay fils (French, 1668−1730), and Alexandre-François Desportes (French, 1661−1743), The Cowardice of Sancho at the Hunt, 1772. Wool and silk; modern cotton support straps and lining, 12 ft. 1 in. x 13 ft. 4 in. (368 x 406 cm). Signed, lower right corner of field: audran; lower right corner of border: audran.g.1772 [the “2” woven sideways]. The J. Paul Getty Museum, Los Angeles (82.DD.69); digital image courtesy of the Getty's Open Content Program

Gobelins High Warp Tapestry, Plan and Perspective of the Manufacture, Looms and Various Operations, plate 1. Denis Diderot and Jean le Rond d'Alembert, ed. Encyclopédie ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers . . . (Paris 1771). University of Chicago: ARTFL Encyclopédie Project 

Gobelins High Warp Tapestry, Outline of the Design and Service of the Comb, plate 11, Denis Diderot and Jean le Rond d'Alembert, ed. Encyclopédie ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers . . . (Paris 1771). University of Chicago: ARTFL Encyclopédie Project 

Weaver Working at a Tapestry on a High-warp Loom at the Gobelins Manufactory, Plate 9, Denis Diderot and Jean le Rond d'Alembert, ed. Encyclopédie ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers . . . (Paris 1771). University of Chicago: ARTFL Encyclopédie Project 

Gobelins Tapestry Manufactory (French) after cartoons by Charles Le Brun (French, 1619–1690), The Visit of Louis XIV to the Gobelins, from the History of the King series, ca. 1670, woven 1729–34. Wool and silk, 12 ft. 1 3/4 in. x 18 ft. 1 3.4 in. (370 x 576 cm). Musée National de Chateaux de Versailles et de Trianon, Versailles, France (Vmb 14197) © RMN-Grand Palais / Art Resource, NY

Gabriel de Saint-Aubin (French, 1724–1780), Quinault and Lully’s opera “Armide” Performed at the Palais-Royal Opera House, 1761. Pen and brown ink, watercolor and gouache over graphite pencil on paper, sheet: 12 1/4 x 19 3/4 in. (31.1 x 50.2 cm). Museum of Fine Arts, Boston; gift of Elizabeth Paine Card, in memory of her father, Robert Treat Paine 2nd (1970.36) © Museum of Fine Arts, Boston

Charles Coypel, Don Quixote at Don Antonio Moreno's Ball, 1731. Oil on canvas, 65 3/8 x 105 1/8 in. (166 x 268 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3566) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Don Quixote Is Served by the Duchess’s Damsels, 1723. Oil on canvas, 55 1/8 x 63 in. (140 x 160 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3572) © RMN-Grand Palais / Art Resource, NY

Gobelins Tapestry Manufactory, The Entrance of Love and Treasure at the Wedding of Camacho, 1718–19. Private Collection © Christie’s Images/Bridgeman Images

Gobelins Tapestry Manufactory, Arrival of the Shepherdesses at the Wedding of Camacho, 1718–19. Private Collection © Christie’s Images/Bridgeman Images

Gobelins Tapestry Manufactory, Don Quixote Delivered from Folly by Wisdom, 1717–19. Private Collection © Christie’s Images/Bridgeman Images

Charles Coypel, Don Quixote Consults the Enchanted Head at the House of Don Antonio Moreno, 1732. Oil on canvas, 62 1/4 x 71 7/8 in. (158 x 185 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3584) © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Sancho Dines on the Island of Barataria, 1719. Oil on canvas, 62 1/2 x 72 in. (159 x 183 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris © RMN-Grand Palais / Art Resource, NY

Charles Coypel, Don Quixote Served by the Girls of the Inn, 1751. Oil on canvas, 22 7/8 x 28 3/8 in. (58 x 72 cm). Musée Jacquemart-André, Paris—Institut de France (MJAP-P 2379) © Studio Sébert Photographes

Gobelins Tapestry Manufactory, Don Quixote at Don Antonio Moreno's Ball, 1732–36. Wool and silk, 11 ft. 9 3/4 in. x 16 ft. 7 in. (360 x 505 cm). Musée du Louvre, Paris (OA10664) © RMN-Grand Palais / Art Resource, NY, photograph Martine Beck-Coppola

Gobelins Tapestry Manufactory (French) under the direction of Michel Audran (French, 1701−1771) and his son Jean Audran fils (French, d. 1794), main scene after Charles Coypel (French, 1694-1752); alentours after Claude Audran III (French, 1658−1734), Jean-Baptiste Belin de Fontenay fils (French, 1668−1730), and Alexandre-François Desportes (French, 1661−1743), Don Quixote Delivered from Folly by Wisdom, 1773. Wool and silk; modern cotton support straps and lining, 12 ft. 2 in. x 12 ft. 8 in. (370.8 x 386.1 cm). Signed, lower right corner of field: audran [the n incomplete]; lower right corner of border: audran.g.1773. The J. Paul Getty Museum, Los Angeles (82.DD.66);  digital image courtesy of the Getty's Open Content Program

Pierre-Josse Perrot, Project for an Alentour for a Don Quixote Tapestry, ca. 1732. Watercolor, 9 7/8 x 13 3/4 in. (25 x 35 cm). Musée des Arts décoratifs, Paris (inv. 18269); Les Arts Décoratifs, Paris / Jean Tholance

Pierre-Josse Perrot, Project for a Sofa Tapestry Cover (back and seat), ca. 1732. Watercolor and gouache, 9 x 24 3/4 in. (23 x 63 cm). Musée des Arts décoratifs, Paris (inv. 18676.A-B); Les Arts Décoratifs, Paris / Jean Tholance

Louis Surugue père (French, 1686−1762) after Charles Coypel (French, 1694–1752), Don Quixote, Led by Folly, Sets out from His Home to Become a Knight Errant, 1723−24. Engraving, plate: 12 5/8 x 12 3/8 in. (32.1 x 31.4 cm). The Hispanic Society of America, New York (LQ 1679); photograph George Koelle

Charles-Nicolas Cochin père (French, 1688–1754) after Charles Coypel (French, 1694–1752), Don Quixote Believes He Is Receiving the Order of Knighthood at the Inn, 1724. Engraving, plate: 12 5/8 x 12 3/8 in. (32.1 x 31.4 cm), The Hispanic Society of America, New York (LQ 1680); photograph George Koelle

Louis Surugue père (French, 1686−1762) after Charles Coypel (French, 1694–1752), Don Quixote Mistakes the Basin of a Barber for the Helmet of Mambrino, 1723−24. Engraving, plate: 13 1/8 x 12 1/2 in. (33.3 x 31.8 cm). The Hispanic Society of America, New York (LQ 1681); photograph George Koelle

Bernard Lépicié (French, 1698−1755) after Charles Coypel (French, 1694–1752), The Priest and Cardenio Surprise Dorotea Dressed as a Shepherd, after 1734. Engraving, plate: 12 3/4 x 14 in. (32.4 x 35.6 cm). The Hispanic Society of America, New York (LQ 1683); photograph George Koelle

Louis Surugue père (French, 1686−1762) after Charles Coypel (French, 1694–1752), The False Princess Micomicona Pleas with Don Quixote to be Restored to the Throne, 1723–24. Engraving, plate: 12 11/16 x 12 1/4 in. (32.1 x 31.1 cm). The Hispanic Society of America, New York (LQ 1684); photograph George Koelle

François Joullain (French, 1697−1778) after Charles Coypel (French, 1694–1752), Don Quixote Bound to the Window by the Mischief of Maritornes, 1724, engraving, plate: 13 x 12 3/8 in. (33 x 31.4 cm), The Hispanic Society of America, New York (LQ 1685); photograph George Koelle

Charles-Nicolas Silvestre (French, 1700−1767) after Charles Coypel (French, 1694–1752), The Bachelor Sansón Carrasco Is Vanquished by Don Quixote, 1723−24. Engraving, plate: 12 1/8 x 12 1/2 in. (30.8 x 31.8 cm). The Hispanic Society of America, New York (LQ 1687); photograph George Koelle

Nicolas-Dauphin de Beauvais (French, 1687−1763) after Charles Coypel (French, 1694–1752), Don Quixote Protects Basilio, Who Tricks Quiteria into Marrying Him, 1723−24. Engraving, plate: 12 3/8 x 12 5/8 in. (31.4 x 31.1 cm). The Hispanic Society of America, New York (LQ 1690); photograph George Koelle

François de Poilly le jeune (French, 1671−1723) after Charles Coypel (French, 1694–1752), Don Quixote Mistakes Puppets for Moors and Believes He Is Rescuing Two Runaway Lovers, 1723. Engraving, plate: 12 x 12 in. (30.5 x 30.5 cm). The Hispanic Society of America, New York (LQ 1691); photograph George Koelle

Louis Surugue père (French, 1686−1762) after Charles Coypel (French, 1694–1752), Don Quixote Is Served by the Duchess's Damsels, 1724. Engraving, plate: 13 1/8 x 13 3/4 in. (33.3 x 34.9 cm). The Hispanic Society of America, New York (LQ 1693); photograph George Koelle

Nicolas-Henri Tardieu (French, 1674−1749) after Charles Coypel (French, 1694–1752)
Don Quixote and Sancho Ride a Wooden Horse through an Imaginary Sky to Avenge the Distressed Countess Trifaldi, after 1724. Engraving, plate: 12 7/8 x 13 5/8 in. (32.7 x 34.6 cm). The Hispanic Society of America, New York (LQ 1696); photograph George Koelle

François Joullain (French, 1697−1778) after Charles Coypel (French, 1694–1752), The Memorable Judgment of Sancho, ca. 1731. Engraving, plate: 13 1/4 x 13 7/8 in. (33.7 x 35.2 cm). The Hispanic Society of America, New York (LQ 1699); photograph George Koelle

Louis Surugue père after Charles Coypel, Doña Rodríguez, Conversing in the Night with Don Quixote, Is Surprised by the Duchess's Damsels, 1723−24. The Hispanic Society of America, New York; photograph George Koelle

Nicolas-Dauphin de Beauvais (French, 1687−1763) after Charles Coypel (French, 1694–1752), Sancho Dines on the Island of Barataria, 1723−24, engraving, plate: 13 1/4 x 13 7/8 in. (33.7 x 35.2 cm). The Hispanic Society of America, New York (LQ 1700); photograph George Koelle

Les principales aventures de l'admirable Don Quichotte (Liege: Jean-François Bassompierre, 1776). The Hispanic Society of America, New York (7682a); photograph George Koelle

Workshop of Peter van den Hecke (Flemish, 1680-1752) after Philippe de Hondt (Flemish, 1683-1741), Sancho Departs for the Island of Barataria, 1730−45 (before 1748). Wool and silk, 10 ft. 4 in. x 19 ft. 5 in. (314.6 x 591.2 cm). Signed, lower right: p.van.den.hecke [with both n’s in reverse]. The Frick Collection, New York (1965.10.21); photograph Michael Bodycomb

Jacob van der Schley (Dutch, 1715–1779) after 1723 engraving by Marie-Magdeleine Horthemels (French, 1687−1774) after Charles Coypel (French, 1694–1752), Arrival of the Shepherdesses at the Wedding of Camacho. Engraving, plate 12 of De voornaamste gevallen van den wonderlyken Don Quichot (The Hague: Pieter de Hondt, 1746), 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). The Hispanic Society of America, New York (98890); photograph George Koelle

Pierre Tanjé (French, 1706−1761) after an engraving by Marie-Magdeleine Horthemels (French, 1687−1774) made ca. 1723−24, after Charles Coypel (French, 1694–1752), The Entrance of Love and Treasure at the Wedding of Camacho. Engraving, plate 13 of De voornaamste gevallen van den wonderlyken Don Quichot (The Hague: Pieter de Hondt, 1746), 8 1/2 x 6 1/2 in (21.6 x 16.5 cm). The Hispanic Society of America, New York (98826); photograph George Koelle

Charles Coypel, Arrival of the Shepherdesses at the Wedding of Camacho, 1718. Oil on canvas, 50 3/8 x 55 7/8 in. (128 x 142 cm). Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3567) © RMN-Grand Palais / Art Resource, NY