The UK government has placed a temporary export bar on a rare 17th century tapestry designed by a British weaver in the "Indian manner" in an attempt to prevent it leaving Britain.
The tapestry, designed by Michael Mazarind and inspired by Indian, Chinese and Japanese design, is at risk of being exported from the UK unless a buyer can be found to match the asking price of 67,500 pounds.
"This intricate design provides us with a unique opportunity to explore the tapestry workshops of 1600s London. I hope we are able to keep it in the country so we can learn more about our nation's textile industry, and of the decorative fashions of the time," UK culture minister Matthew Hancock said in a statement yesterday.
The tapestry includes small groups of oriental figures, buildings, exotic creatures and plants.
This is the combination of elements that has been described as being put together "in the Indian manner", and was one of the most popular decorative fashions of the period.
Under the export bar, any decision on an export licence application for the tapestry will be deferred until January 19, 2017.
This may be extended until April 19, 2017 if a serious intention to raise funds to purchase it is made.
The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by the UK's Arts Council.
The RCEWA made its recommendation on the grounds of significance for the study of Mazarind's work, English tapestry of the period, and London's history.
RCEWA member Christopher Rowell explained: "This beautiful blue ground tapestry, with an equally unusual border of Chinese inspiration, dates from the late 1600s and is the only one to bear the woven signature of the mysterious Michael Mazarind, who was a rival of the more well-known London tapestry weaver, John Vanderbank.
"This type of 'Indian' tapestry depicting a Chinoiserie fantasy paradise in Cathay, with courtly and hunting scenes, was devised for the court, but soon became more broadly popular. Saving the tapestry for the nation will allow specialists to study it in detail and help to reconstruct Mazarind's contribution to tapestry production in early-Georgian London."
Little is known of Mazarind's workshop, but it is believed he was based in Portugal Street, London, between 1696 and 1702.
He was relatively unknown, but is said to have connections to John Vanderbank, a more well-known Soho-based weaver in London.
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