circa 1625, by Franz van den Planken/Francois de La Planche, 1573-1627 and Marc Comans, 1563-1644, after designs by Henri Lerambert, circa 1550-1610 and possibly Laurent Guyot, ca. 1575 after 1644, scene of Coriolanus (at left foreground) bidding farewell to his mother, wife, and two children before he is exiled from Rome, group of soldiers gathered at right to escort Coriolanus to the city gates, group of tribunes in the middle distance, elaborate frame style border with acanthus leaves, masks, and cameos, and mounted soldiers at center top and center bottom, Paris mark at bottom right selvage; weaver's mark of Franz van den Planken/François de La Planche at lower right selvage, stamps of Francesco and Antonio Barberini and "Antonio Barberini" written in ink on reverse, 149 x 164 in.

Provenance: 1637, acquired by Jules Mazarin of Paris, France, possibly from Louis XIII; 1637, purchased from Jules Mazarin by Antonio Barberini of Paris; from 1637 to 1889, inherited through the Barberini family of Rome, Italy; 1889, purchased from the Barberini family by Charles Mather Ffoulke of Washington, DC; by 1913, purchased from Charles Mather Ffoulke by Phoebe Apperson Hearst; 1919, inherited from Phoebe Apperson Hearst by William Randolph Hearst; 1951, inherited from William Randolph Hearst by the Hearst Foundation, Inc., New York; 1954; Gift of the Hearst Foundation Inc., in memory of William Randolph Hearst; Property from the Brooklyn Museum

Exhibition History: Brooklyn Museum, entrance hall display, June 15, 1954

Publication History: Ffoulke, Charles Mather, with introduction by Ernest Verlant. The Ffoulke Collection of Tapestries, arranged by Charles M. Foulke. New York: Privately printed, 1913. pp. 32, 198-201 (ill.); Laurvik, J. Nilsen, ed. Catalogue Mrs. Phoebe A. Hearst Loan Collection. San Francisco: San Francisco Art Association, 1917. pp. 53-60; Fenaille, Maurice. Etat general des tapisseries de la Manufacture des Gobelins depuis son origine jusqu’a jours, 1600-1900. Vol. 1. Paris: Impremiere Nationale/Librairie Hachette et Cie, 1923. pp. 217-218; Devree, Howard. “About Art and Artists; Brooklyn Museum Displays 2 Tapestries Presented by Hearst Foundation.” New York Times, June 16, 1954: 29; “Curatorial Departments: Department of Decorative Arts.” Brooklyn Museum Annual Report (1953-1954): 19 (54.4.1e ill.); Cavallo, Adolf S. “The History of Coriolanus as Represented in Tapestries.” Brooklyn Museum Bulletin 17, no. 1 (Fall 1955): 5-22; Smit, Hillie, and Hartkamp-Jonxis, Ebeltje. European Tapestries in the Rijksmuseum. Zwolle and Amsterdam: Waanders/Rijksmuseum, 2004. p. 328 (54.4.1a ill.); Denis, Isabelle. “The Parisian Workshops, 1590-1650.” In Tapestry in the Baroque: Threads of Splendor, edited by Thomas P. Campbell. New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2007. p. 124; Denis, Isabelle. “A New Look at The Story of Coriolanus.” In Tapestry in the Baroque: New Aspects of Production and Patronage. New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2011. p. 47