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, panel designed to be hung between windows, (entre-fenetre), scene of Roman tribunes plotting to rouse a mob for Coriolanus’ execution, with a seated scribe in the foreground, 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, 144 x 127 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, 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