Silk Furniture

New Hand-Embroidered 100% Silk Cushion Cover – Authentic Uzbek Textile Art Elevate your home décor with this exquisite hand-embroidered Suzani cushion cover, crafted from 100% pure ...

Celebrate the rich heritage of Asian craftsmanship with this exquisite 100% silk Suzani textile, meticulously hand-embroidered by skilled artisans. A true work of art, this piece emb...

This new, hand-knotted sari silk and wool features classic Bijar motifs rendered in a contemporary color palette of magenta, gold, and gray. Variations in texture and color add to th...

A stone's throw from the Eiffel Tower We are a family business specializing in the purchase, sale and expertise of old, modern and contemporary tapestries, rugs, kilims and textiles....

This rug reinterprets the theme of Original Sin with Fornasetti’s characteristic lightness, offering a decorative piece that captivates the eye through a perfect balance of nature an...

Neoclassical, "Prince of Wales" Armchairs, Ebonized Wood, Gilt, Beige Silk, USA, 19th Century A fully restored pair of the finest Hepplewhite ebony and pencil inlaid 19th century ar...

Pairs perfectly with our limited edition now voyager custom silk charmeuse silk framed blanket. Generously sized in Queen or King pillow sizes. In-house...

An unusual suzani on a silk background embroidered in silk. Rare.

TIFFANY The first one, Audrey inspired the iconic Introducing Sabrina's breathtaking collection of Tiffany lamps. Year after year Sabrina Landini perpetuates its exceptional exp...

1900 Antique French Tapestry Wool & Silk Game 7x7 Square 6'5" x 6'7" 196cm x 201cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- Thi...

The embroidery is in rather good condition and seems to been on a frame before my possession of the piece.

Quatrain for Dessin Fournir Italian Empire Style Serpent Armchair.

Sculpture. Unique piece hand made by the artist. The silk velvet fabric and the embroideries are made expressly for the artist, Carla Tolomeo.

Beautiful Apadanas's handmade bamboo & silk Indian groove rug with the blue field. This groove collection rug has an all-over solid design. This rug measures: 12' x 15'. Custom...

Rare Alexander McQueen for The Rug Company hand knotted area rug based on his last collection. The Military Brocade motif features hand sculpted/cut gold silk intarsia against black...

Set of 2 wall lamps model V-271 designed by Hans-Agne Jakobsson, produced in Markaryd, Sweden, 1960s.

Victorian Brass & Extending Standard Oil Lamp - By Hinks of B'ham - with reeded column on gadrooned disc base - converted to electric - 22"diam x adjustable height - - The lampshade(...

It does not come with an insert but a bag made to the size to accomodate insert materials. Linen in the back. Zipper closure. Dry cleaning is reccommended.  

This is a Maru Obi made in Japan around 1920s. Obi is a belt of varying size and shape worn with both traditional Japanese clothing like Kimono.Obi are categorised by their design,...

1990s. This floor lamp features pleated silk fabric stretched over a metal frame, equipped with two internal lights and a petal-shaped torchiere top.  This piece has been rewir...

For the appartment Gustav Pollak, in Vienna 1040 Total drop is custom made

Set of 6 Chinese Carved Whitewashed Dining Chairs, Rosewood, Chippendale Style; Comprised of a pair of arm and four side chairs. Complete with s...

Made with hand-knotted wool and silk, this 12x20 custom rug design is an exciting new representation of the Block Print line in Rug & Kilim’s Modern Classics Collection—a sophist...

This new, hand-knotted sari silk and wool rug features transitional Bijar motifs rendered in a contemporary vibrant color palette. Motifs in magenta, gold, and navy sit against a sil...

This new, hand-knotted sari silk and wool rug features transitional Bijar motifs rendered in a contemporary high contrast color palette. Vibrant greens, indigos, and golds sit agains...

“My work is a sort of “fight for the image” of which the gesture and the color are the protagonists. Color is space, time and light at the same time.” Roger Selden This piece is cra...

Mid 18th Century Scenic English Needlepoint ( 2'4" x 2'7" - 71 x 79 )

Beautiful handwoven rug made of cactus silk with soft multi-color geometric motifs on a red - salmon color background, nicely feel to touch. Great decorative addition for any room.

Antique Large Japan Musha Samurai Boy Days Gofun Daimyo Ningyo Doll This is a Japanese Boys Day doll of a Japanese warlord, a Daimyo from the 1800's Edo period. His head is made of c...

Handwoven with a luxurious embroidered silk circa 1920-1930, this 6x7 antique Chinese tapestry is a precious piece newly curated for Rug &a...

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

-No insert. -Linen in the back. -Zipper closure. -Dry Cleaning is recommended.

This is an silk Obi (Kimono belt) made in Japan around 1960s. Obi is a belt of varying size and shape worn with both traditional Japanese clothing like Kimono.Obi are categorised b...

An antique 18th century Flemish mythological tapestry, size 11'0 H x 12'6 W. This period European tapestry depicts the Greek God Apollo, who is the deity of the arts, poetry, crops, ...

An extremely rare, Museum quality, early Elizabethan English needlework depicting the Story of Adam and Eve in the Garden of Eden. Finely worked in wool and silk in different types o...

Antique Chinese textile, with a finely nicely ,dragon , flowers and butterfly , and garden scenery , embroidery on cream color silk background. Displayed professionally in impres...

This exceptional 55 x 55 cm cushion is a stunning embodiment of Ottoman artistry and heritage. Hand-embroidered with rich silk threads on a soft, high-quality cotton base, it feature...

An antique 18th century French Felletin verdure landscape tapestry, size 8'10 H x 9'7 W. This handwoven antique wall hanging feat...

Hand-knotted in a luxurious blend of wool and luminous silk, this commanding 12 x 15 rug from Rug & Kilim’s Modern Collection is a masterful study in optical depth and subtle ge...

This Deccan embroidery is embroidered in silk and metallic thread. They were mainly used as festive and ceremonial floor coverings . It is in rather good condition for it age. A coll...

Introducing our exquisite Suzani Hand Embroidered 100% Silk Wall Hanging, a captivating piece that seamlessly blends artistry and functionality. This stunning decor item doubles as b...

1 of the 2 rare large beige ceramic table lamp with geometric shapes. Sculptural piece, made of handmade ceramic in warm tones, with a new custom made matching beige silk lamp shade ...

79160 Vintage Turkish Silk Hereke Rug, 03'04 x 05'03. This hand-knotted vintage Turkish silk Hereke rug unveils a vivid pictorial scene, a magnificent Garden of Paradise woven into its very fibers. The Hereke rug's design is a lush tableau, where nature thrives in every corner. At the heart of the composition lies the revered Tree of Life, its roots deep in the earth, its branches reaching to the heavens, surrounded by an array of life in motion—birds, animals, and blossoms—all painted with the delicate brushstrokes of silk. The rich pinks, reds, and soft golds of the field create an ethereal glow, as though the garden itself has been bathed in the first rays of dawn. Each section of the rug feels like a living scene from an ancient fable, where the earth is fertile and alive with movement. In the foreground, gracefully depicted deer and rabbits wander among the trees, their soft fur and gentle presence inviting peace and tranquility. In the background, birds with their vibrant plumage take flight, filling the scene with a sense of freedom and vitality. The interplay of nature’s creatures—feline and winged, terrestrial and celestial—speaks to the balance of life, captured in the woven artistry of Turkish silk. The elegant design weaves seamlessly into the Tree of Life motif, a symbol of eternal growth and renewal, revered across cultures for its deep spiritual meaning. The trees bloom with abundant blossoms, their pink flowers echoing the natural beauty surrounding them. With each knot, this Hereke rug conjures the timeless beauty of the garden as a reflection of paradise...

The narrative playfulness of the scene depicted on this Japanese screen sets alight what is at its core a celebration of a bountiful harvest. The screen offers a visual representatio...

"Rebuilding a Nation – The Role of Soviet Women in Post-War Reconstruction" This Original Soviet Silk Screen-Printed Art Poster is a rare collector’s item, created in limited editio...

Impressive large scale Japanese Showa period four panel byobu screen depicting a serene snowy winter landscape with willow, prunus, and bamboo. The screen features an amazing backgro...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

An elegant Japanese hanging scroll (kakejiku) featuring a finely rendered white egret (shirasagi) standing among reeds. Executed in ink on silk with remarkable precision and delicacy...

A finely detailed Japanese hanging scroll (kakejiku) depicting quails (uzura no zu), executed in ink and colour on silk with delicate brushwork and careful attention to naturalistic detail. The composition captures the birds with remarkable sensitivity, reflecting the long-standing appreciation for avian subjects in East Asian painting traditions. Quails have been a favored motif in Japanese art for centuries, symbolizing abundance, harmony, and the changing seasons. The artist skillfully balances the decorative and naturalistic elements of the composition, creating an elegant and tranquil image. The scroll bears an artist’s signature and is accompanied by a double wooden storage box (nijūbako). The outer box is missing its lid. The work originates from an old Japanese private collection (kura-dashi). Japan, Edo period, circa 18th–19th century. Dimensions: * Overall: 182 × 54.5 cm (71.7 × 21.5 in.) * Painting: 103 × 41 cm (40.6 × 16.1 in.) A refined example of traditional East Asian bird painting...

Japanese Edo Period Iron Mempo Samurai Face Mask (Yoroi) with Lacquer and Silk Lacing, Circa 1750 A superb and highly expressive Japanese samurai menpō (face mask) dating from the E...

This is an example as good as it gets. It has amazing color saturation and execution of embroidery. It is in used antique condition. Please check t...

A charming 1970s floor lamp by renowned Swedish lighting brand Markslöjd. This vintage piece features a flexible gooseneck stem clad in orange faux leather or vinyl, allowing for ver...

An imaginary garden with flowers from all seasons including spring lilies, summer hibiscuses, autumn chrysanthemums, and winter berries. Wild autumn grasses move in a soft breeze wit...

RUSTIC 400 rug by Illulian Dimensions: D400 x H300 cm Materials: Wool 50%, Silk 50% Variations available and prices may vary according to materials and sizes. Illulian, histor...

Infuse your home with the rich heritage of Central Asia with this exquisite Hand-Embroidered Suzani Cushion Cover, crafted by skilled artisans in Uzbekistan. This stunning textile is...

It does not come with an Insert. Linen in the back. Zipper Closure. Dry Cleaning Recommended.

Beautiful pair of Queen Anne style side chairs. Reminiscent of the classic spoon back chairs from the Victorian era. Made from mahogany with acanthus carved and scrolled knees leadin...

A striking vintage hand-crafted Suzani from Uzbekistan, this exquisite textile showcases the rich embroidery traditions of Central Asia. Worked in lustrous silk threads on a black ve...

Silk Carpet, Pench, Viya by Vikram Goyal Carpet in sari silk. Handmade in India. Step into our enchanting Indian menagerie, where the essence of the jungle intertwines harmoniously...

A six-panel painted folding floor screen from Korea circa early 20th century. This type of screen is called Chaekgeori (books and things) which is quite unique to Korea. It became popular at the end of 18th century favored and encouraged by King Jeongjo (1752-1800) as a political tool to promote social conservatism such as the traditional Confucianism value, especially considered important in a time when waves of new ideology influx came to Korea. Initially commissioned for the royal court, they became increasingly popular with the scholars of noble and affluent households and were used widely in their halls and studies. Early screens were painted with trompe-l’oeil bookcases displaying books and arrays of collectibles. Later, the bookcases were eliminated to focus on the assemblage of neatly stacked books and objects of scholarly pursue. On this screen, the six panels were neatly presented and framed in woven brocade borders. Among the stacked volumes, one can find many fine porcelain vases with flowers, potted orchids, pen holders with brush pens and scroll paintings, incense burner, ink stone, teapot, fan with ink painting, vessels of fruits, exotic plants such as lotus, plumeria and even a pair of glasses. It feels like a pleasant visual measure hunting for the viewers. Several words in Chinese found their way into the picture as well, including filial (xiao), longevity (shou) and luck (fu). The painting was done in a meticulous way with no details overlooked and also with a rather western still-life dimensional perspective. In a rather unusual maximal but also minimalistic way, the screen exudes a historical charm with a folky flair but appears modern at the same time. Each panel is 17.5"w by 70.2"h. For general information on the subject see reference: Chaekgeori the Power and Pleasure of Possessions in Korean Painted Screens...