Silk Furniture

Exquisitely handcrafted by Amitābha Studio in Amsterdam, “Persil” is a one-of-a-kind table lamp featuring a vintage Royal Delft (De Porceleyne Fles) vase, dating to 1981. Decorated w...

A stunning lampshade handmade from an original silk Gucci Indian tribal headdress scarf. Striking colors and with an iconic printed pattern this shade w...

It does not come with an insert. Linen in the back. Zipper closure. Dry cleaning is reccommended. Item above is made from an antique and used ikat there fore it is not in brand n...

Beautiful and very fine embroidery from Fez, Morocco, blue silk hand embroidered on cotton foundation. ✨✨✨ "Experience the epitome of luxury and craftsmanship with our exquisite col...

Mid 20th century hand woven Persian Bashir rug. The circa 1950 Persian Bashir Zili Sultan Rug is hand woven with silk warp. It is very finely and distin...

Late 19th-early 20th century pillow cases , embroidered in silk on a satin silk background. The backing has been replaced with a hand loomed silk and cotton fabric. Insert is not pro...

Introducing Bullseyes: The Icons, Carini Carpets' first limited-edition collection of round rugs. Renowned for innovative designs, Carini has long crafted variations of round accesso...

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....

A pair of Fortuny fabric cushions in the Ashanti pattern, burnt apricot and silvery gold color way with silk edging. Wool fabric with brushed texture backing. The pattern, a Geometric design with African tribal motif. 50 down/50 feather insert. Newly made, but using wonderful vintage Venetian...

2 Available - Rare oversized silk scarf pillow designed by Ralph Lauren. Made from silk with an equestrian motif along the front and a navy linen back. Classical design, down filled ...

The price enclosed represents our price per square foot for custom orders in this design. Please share your size and we will share CADs and custom listings to check out accordingly. ...

It does not come with an insert. Linen in the back. Zipper closure. Dry cleaning is recommended.

Swedish pink fringes wall light model V271 designed by Hans-Agne Jakobsson, produced in Markaryd, Sweden, 1960s. Measures: Diameter 16.5 cm Distance from wall 19.5 cm Top of arm to ...

Large vintage green pink yellow blue silk scarf California America themes Beautiful and rare vintage silk scarf Very pretty, multicolored, joyou...

Chapans are probably the most famous Central Asian fashion garments made from mostly ıkats, either pure silk and lined with cotton, or silk war and cotton weft , again with a cotton ...

An early 19th century French Louis XV style gold giltwood 3-piece parlor salon suite. This lovely set includes a settee and two armchairs. All pieces feature vintage moire...

Custom hand knotted rug based on the painting “Composition VIII” by Bauhaus master painter Wassily Kandinsky. Rug size (listed here): 280 x 200 cm / 9.2 x 6.6 ft Material: fine wool. Quality: Tibetan handknotted in 150 knots per square inch. Very exact translation of the original artwork as a handknotted rug, created by weaving approx. 1.3 million knots per hand or the rug in the listed size. Approx. 230 000 handmade knots per square meter. Colors: 26 custom-dyed colors. Main colors in the rug: warm base in ivory cream and abstract composition in the main colours dark orchid purple, sky blue and steel blue, golden yellow, maroon brown and saddle brown, firebrick red and dark sea green. Sustainable and certified fair-trade artisanal production. Label Step fair-trade partners. This elegant, lively rug is made entirely by hand using traditional weaving techniques. Numbered limited edition of maximum 100 fine handmade rugs with this art piece. Each rug comes with a sewn-on label with an image of the artist’s signature and numbered by hand, per order. This beautiful rug can also be ordered in even more luxurious materials like pure silk or mohair, and in plant-based materials like Tencel and linen. A combination of materials is possible as well. Production time may increase for these options, depending on material availability. Production time for this rug is between is approximately 12-14 weeks. For environmental reasons and to provide our full bespoke service, our rugs are always made to order. -- About the artwork on which this rug is based: “Composition VIII”: Wassily Kandinsky created “Composition VIII” in 1923. The painting represents the Kandinsky’s transition from his Munich style of Expressionism to abstract geometric form and structure and is considered a peak in his work during that period. “Composition VIII” is characterized by the use of tools such as compasses and rulers to draw circular and parallel-linear geometric shapes. This technique was influenced by the Russian painter Alexander Mikhailovich Rodchenko...

The Fornasetti cushions will add to each room an unexpected detail thanks to the most iconic Italian atelier designs. Cushion cover material: S...

This rug holds personal importance for designer, Liesel Plambeck, dedicated to her mother and her Taiwanese heritage, the mythology and imagery of a place brought to life in stories. The serpent is an auspicious symbol, and Liesel’s serpent is particularly charming. At times emerging from grassy cashmere and at other times arrayed in silk on a wool field. When placed, the skill of the artist is evident as the form of the serpent emerges beneath furnishings, connecting the various elements of a room. Rug Number 27818 Size: 9' 0" x 12' 4" Design Year of the Snake...

Fascinating Chinese Qing style 20th century eight panel folding table screen. The panels each features an idyllic landscape scene with a Chinese poem and artist seal. The reverse sid...

Hot pink decorative accent silk brocade throw pillow . Silk pillow cover made from brocade hot pink and gold metallic threads. Indian inspired design with peacocks design decorative ...

This is a truly genuine one-of-a-kind Abstract Design Wool and Silk Hi-Low Pile Denser Weave Hand Knotted Gray Oriental Rug. It has been woven for months and months in the centuries-...

This is a silk jacket which was made in Japan. It was made in Showa era around 1980s. The haori is a traditional Japanese hip- or thigh-length jacket worn over a kimono. Resembling ...

Introducing Bullseyes: The Icons, Carini Carpets' first limited-edition collection of round rugs. Renowned for innovative designs, Carini has long crafted variations of round accesso...

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 ...

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 ...

This authentic Persian Isfahan rug has wool and silk pile on silk foundation is a stunning example if the medallion floral rug. The beauty of this magnificent piece is most noticeabl...

Wonderful modern design silk and wool rug with beautiful abstract design and nice colors, entirely and finely hand knotted with silk and wool velvet on cotton foundation.

A stunning Japanese embroidery tapestry circa 1880s-1900s from late Meiji period, presented with an original wood frame with inner gold trim. The tour-de-force embroidered tapestry s...

This contemporary 6x8 abstract rug is a new addition to Rug & Kilim’s contemporary rug collection. Hand-knotted in wool,cotton and silk, its design explores an expressionist sensibil...

This oriental rug for sale was woven in Asian Anatolia, Turkey in the historic city of Hereke. In the mid-19th century, Sultan Abdul Majid proclaimed Hereke to be the royal weaving village. The small rugs were woven there were considered the finest in the world. All examples of this woven rug used select Borsa silk which is the finest quality carpet silk. The Sultan required that all of the silk rugs woven in Hereke had to be signed with the name Hereke. These oriental rugs were regularly woven for the aristocracy in Europe, Asia, and The Middle East. The design of this luxury rugs is unique because it is an interpretation of the famous 17th-century Mughal carpet from India. The Mughal carpet was exhibited in the Metropolitan Museum and was illustrated in the book called Flowers Under Foot, published by the Museum. The gold rug has 1200 knots per square inch, and the entire field is woven of silver/metallic thread. The signature of these patterned rugs (see detail photos) is written in Ottoman script and says Use Ipek, which was the premier workshops in Hereke during the 1970s. Pure Silk Rugs, Metallic Pictorial Turkish Rugs...

Taisho-Early Showa period Japanese Stencil-Dyed Summer Kimono with bamboo Motif A light-weight summer kimono woven of both cotton and silk, and patter...

Elegant French Louis XVI Parlor or Salon Set with a sofa and a pair of side chairs, meticulously crafted to add a touch of elegance to any living space. The set showcases the timeles...

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...

Big Hand knotted "Nazar" rug - Florian Pretet and Lisa Mukhia Pretet Made to order dimensions can be ordered Dimensions: 200 x 290cm Materials: 60% Himalayan wool, 40% silk hand...

The ‘Medallic Illustrations of The Holy Scriptures’ by Sir Edward Thomason inspired by Carlo Maratta (1625 - 1713) An exceptional collection of ‘Sixty Medallions’ contained in their ...

SUNSHINE Let the light to come through Thanks to the Italian manufacturing technique used in our workplace, each item is a testament to our commitment to craftmanship, with attenti...

This fabulous Hand-Knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

Parasol made of silk and fabric around 1920s Original condition The last 5 pictures shows that the material is not in excelent condition.

Ottomans, walnut, fabric, Italy, 1930s/1940s A magnificent and strong angular ottoman in walnut wood. Upholstered in a cream silk fabric with a subtle triangular pattern, a typical ...

Early 20th Century Chinese Silk Embroidery ( 16'6" x 22' - 503 x 670 )

The table lamp has a contemporary and elegant shape that reproduces the Italian Mid-Century style. This pair of stunning table lamps has been made in light green ceramic and has th...

French baroque silk fabric or curtain in golden yellow and black silk velvet and lined on the inside with another yellow silk villela fabric. A curtain is drawn and holds the rings. We have not manipulated it so that whoever buys it can do whatever they want with it, use it as a curtain, like this one or use the fabric for other functions, such as to upholster some old vintage armchair...

A spectacular Japanese embroidered silk panel beautifully presented in a gilt frame suspended in a lucite shadow box with gilt wood border. The silk picture is dated to 1890-1910s toward the end of Meiji Period, when Japanese started to participate international expose by presenting its best art and craft. Elaborate embroidered silk tapestry like this was very popular among westerners due to its superb craftmanship and also exotic subject matter that was often derived from classic Japanese folklore, mythology and various motifs. The tapestry on offer is such an example. It depicts an old couple...

Single pillow made of antique hand silk embroidery Suzani textile, beautiful vine and flowers motifs. Fresh quality insert, fine cotton backing. Some missing embroidery due to age an...

We designed the chair to feel as if you are being embraced by your own world, in spite of craziness running a mock in the real world, with the two arms as an oasis of calm and comfor...

Desert Sand Brown, Hand Knotted, Rajasthan with All Over Leaf Design, Wool and Silk, Soft Pile, Thick and Plush, Runner, Oriental Rug Primary materials: Wool & Silk Latex: No Pile h...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. Uzbekistan. Ready to go on a wall. ...

This lamp is perfect for insect enthusiasts who want to analyze and appreciate without the fear of them crawling, biting or escaping.

As one of the first Italian designers to go beyond aesthetic issues to incorporate technological, industrial, and communication variables into his art, Marco Zanuso introduced the co...

This is a silk jacket which was made in Japan. It was made in Showa era around 1980s. The haori is a traditional Japanese hip- or thigh-length jacket worn over a kimono. Resembling ...

This is a Hitoe Obi made in Japan around 1970s. Obi is a belt of varying size and shape worn with both traditional Japanese clothing like Kimono....

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 ...

These are luxurious silk pillows featuring a Fortuny stripe design. The base fabric is a rich, warm, muted copper silk with a slight sheen, giving it an elegant and sophisticated app...

Handcrafted fox fur throw, produced in 2012 by the Irish furriers J.M. Barnardo & Son. The throw/blanket is composed of eight crystal fox fur pelts, sele...

This Vintage David Salmon Furnishers Mahogany Regency Style Sofa perfectly embodies the elegant simplicity of Regency design with its finely crafted mahogany frame and luxurious upho...

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...

This fabulous Hand-Knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

Very fine Persian Rug Nain 1000 Knots per inch, Size 16.7 x 26.5 Iran Nain Wool and Silk with Silk Foundation. Around 60,000,000 knots tied by h...

Exceptional large ceramic bubble floor lamp, Germany, 1960s. A sculptural high-end piece made of handmade ceramic in rich glazed dark red orange, brick and blue tones. With a new cus...