Woven in wools and silks, depicting an icy scene with a frozen lake, a variety of figures being pulled by horse driven sleighs, others playing with dogs and some merely crossing, in the background a three arched bridge and a medieval house with further figures, in the foreground a wild boar being prepared outside a medieval house, a variety of women collecting straw and preparing to cook the boar, signed in the left hand corner Duplan et Ghamot, signed D Teniers Pinocit.

French success with pastoral and genre subject during the seventeenth century led Flemish weavers to promote their own brand of rusticity. They found interesting subjects in the work of David Teniers II, painter to Archduke Leopold-Wilhelm, governor of the Netherlands and in the work of the painter's son, David III, who emulated his father. Before the word boor (from boer, meaning peasant) had acquired its present connotation, the life scenes of these boers, clothed in clumsy earth colored garments, amused and delighted the upper middle-class clientele. The phenomenal success of Teniers's subjects kept them on Flemish looms for a century. The first center to produce the type in quality was Brussels, but imitative series followed at Loudenaarde, Lille, Aubusson, and elsewhere. Public demand forced almost every atelier to produce Teniers tapestries. This success lasted until the late eighteenth century, the last atelier closed in 1794.

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