Rugs and Carpets

FRENCH AUBUSSON TAPESTRY 17th/began 18th Century polychrome decoration representing "Gallant Scene with Landscape". Small defects. Dim.: 204 x 198 cm. good conditions

Rug designed and manufactured by Atelier Versace Wild Barocco Measures: 220 x 220 In good original condition, with minor wear consistent with age and use A vintage Gianni Versace home...

"European Carpet In The Taste Of Savonnerie " The French Savonnerie factory was the most prestigious European manufacturer of knotted pile carpets. The production was born from a car...

Gianni Versace collection rug wild ivy, gold zebra animal print, 1980 Rug designed and manufactured by Atelier Versace Wild Ivy rug Measures: 200 x 300 In good original condition, with minor wear consistent with age and use A vintage Gianni Versace home...

Introduce timeless charm into your space with this exquisite wool and linen tapestry from the renowned Robert Four manufacture in Aubusson, France. A vintage replica of a 15th-centur...

78689 Vintage Persian Qum Rug, 04'05 x 06'07. Persian Qum rugs are exquisite handwoven creations originating from the city of Qum in Iran, renowned for their exceptional craftsmanshi...

Gianni Versace Atelier Rug .All Hand Knotted in Wool and Silk . Rare piece .

Antique French Tapestry Verdure Noblemen Royalty Verdure 5x9 158cm x 272cm 1920 A magnificent antique French tapestry depicting a scene of noblemen amongst incredible, exotic verdur...

Rare Antique French Tapestry Handmade Tapestry Flowers Verdure 6x8ft 5'6" x 7'8" 167cm x 234cm A magnificent antique French tapestry depicting exotic flowers amongst a verdure setti...

Featuring a layered linear design woven with floral and geometric patterns in harmonious colorways including red, blue, pink and beige. Suitable for use in any doorway in your traditional or modern home. This semicircle entranceway doormat has been refurbished from a handmade vintage rug- cut from large area rugs to create these small doormats, with handwoven fringe detail. Handspun cotton and wool have been used in the construction of these mats, they are handwoven and so hard wearing perfect for use as a dust barrier in any doorway. Vintage Oriental rug door mat- handmade carpet refurbished rug mat- entrance mat...

Antique French Tapestry Verdure Signed 1880 Wool & Silk 5x7 153cm x 201cm A magnificent antique French tapestry depicting a castle amongst a river, verdure, and exotic birds. Beauti...

Antique French Tapestry Arts & Crafts Noblemen 1890 Wool & Silk 6x7 183 x 206cm A magnificent antique French tapestry depicting a scene of noblemen dressed up amongst exotic fruit...

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- This wool & silk treasure incorporates impeccable attention to detail- Depicting a scene of Hermes and Mercury...

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson tapestry in a fantastic large size- Thi...

Antique French Tapestry Verdure Noblemen Gathering Fruit Tree 5x5 Square Tapestry 1920 4'5" x 4'7" 135cm x 140cm A magnificent antique French tapestry depicting a scene of people ...

1920 Antique French Aubusson Tapestry Rug Floral Vase Runner 3x10 c.1880 3'2" x 9'5" 97cm x 287cm A magnificent antique French tapestry depict...

Antique French Tapestry Verdure Deer 3x6 3' x 5'8" 92cm x 172cm k65101 About Us~ Welcome to Antique Rug Collection. Your #1 Source for handmade Antique Rugs & Tapestries at g...

Mid 17th Century Flemish Tapestry Set ( 2'6'' x 4'6'' - 76 x 137 )

Early 18th Century Antique Flemish Tapestry Fine Verdure Wool & Silk 9'9" x 12'7"(10x13) 297cm x 384cm Circa 1720 "This is a very fine Authentic Antique Flemish wool & silk Tapest...

1960 Vintage Art Nouveau Tapestry Abstract Fish Handwoven 2x4 About Us~ Welcome to Antique Rug Collection. Your #1 Source for handmade Antique Rugs & Tapestries at great prices, cu...

Atelier Versace "Wild Barocco" Carpet for the Gianni Versace Collection, Circa 1980. Dealer: S138XX

Antique French Tapestry Exotic Flowers Animals Rare Black Verdure 3x6 92cm x 168cm A magnificent antique French tapestry depicting a scene of verdure. This is an easy, chic addition...

Vintage Tapestry Kelim Flatwoven Handwoven 2x4 1'10" x 4'3" 56cm x 130cm About Us~ Welcome to Antique Rug Collection. Your #1 Source for handmade Antique Rugs & Tapestries at great...

Antique French Tapestry Wool & Silk Masquerade Vase Exotic Flowers 4x5 1920 4' x 4'8" 122cm x 142cm "A magnificent antique French tapestry depicting an ornate vase full of flowers....

1920 Antique French Tapestry Wool & Silk Village Scene Framed 3x4 "A magnificent antique wool & silk French tapestry depicting a village scene amongst verdure."-ARS Size 3'4" x 4'...

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...

Antique French Tapestry Rare Fountain and scenery Large Tapestry 5x7 1920 Circa 1920 "A magnificent antique French tapestry depicting a scenic river including a fountain and a larg...

Beautiful Flemish Tapestry 17th century Southern-Netherlandish wool and linen wall tapestry from the 17th century. Depiction of strollers in front of a castle. 300 x 192 cm G...

78622 Vintage Turkish Kayseri Rug, 04'10 x 05'02. Emulating timeless style with incredible detail and texture, this silk on silk vintage Turkish Kayseri rug is a captivating vision ...

Antique French Tapestry 1920 Handmade Fountain 6x8 Wool Foundation 1920 6'2" x 7'5" 188cm x 226cm A magnificent antique French tapestry depicting a scene of people among a founta...

Rare Antique French Aubusson Tapestry "Entre Fenetres" Wool & Silk Gold 4'3" x 6'5" (122cm x 196cm) circa 1880 "This is an Rare Antique French Wool & Si...

1920 Antique French Tapestry Scene Celebration Trees 3'5" x 5'1" 104cm x 155cm "This is a Antique French Tapestry depicting a celebration amongst...

Ashly Fine Rugs Presents AN ENGLISH BAROQUE GARDEN LANDSCAPE TAPESTRY, ROYAL MORTLAKE WORKSHOP, 17TH CENTURY, woven with silk and wool in a rectangular form centering a stone footbridge over a meandering stream with paired geese amidst a garden of various blossoming plant species beneath towering trees concealing a parrot and magpie foraging on large grape clusters, within a topiary garden hedge and spherical wall before a fountain with a forest and manor in the distance, enclosed by a spiraling acanthus leaf wrapped fruiting and flowering border framed by a lambrequin edge trimmed in a brown outer slip, surmounted by a coronet above an armorial three bar shield flanked by palm fronds centering a fleur-de-lys. Note: The Mortlake Tapestry...

Rug made in China designed and manufactured by Atelier Versace Petit Barocco Nero 200 x 300 In good original condition, with minor wear consistent with age and use A vintage Gianni Versace...

This luxurious carpet has been woven with a rich wine-red background with cream, blue, green and pink accents that make up the intricate, highly-decorative medallion and surrounding ...

Mid 18th Century French Needlepoint Carpet ( 5' x 8 8'' - 152 x 264 )

77466, vintage Indian rug with Versace Baroque style. Sure to captivate the most discerning aesthete, this hand knotted wool vintage Indian rug is the epitome of Versace vibes and lu...

Via Como - 'Vonier' Rug - Size 8' x 10' Material: 50% Wool - 50% Silk Made in the finest New Zealand wool and silk.

Handmade carpet with muted pink green and beige colorways, this stunning Aubusson rug reveals a large floral central medallion and foliate scrolling through the centre and border. Th...

Louis XV Period fireplace screen in dore wood and tapestry French work, 18th century carved and gilded wooden fireplace screen from the Louis ...

Tapestry French Rustic style Aubusson Baroque Louis XV, France. Mid-20th century, machine woven.         

"This New English style Needlepoint was handwoven in the early 21st century and featured a traditional Aubusson design with an oval central medallion and symmetrical surrounding design. Woven with an elegant colour palette of deep red, beige and cream. The colour palette and Traditional Design revealed in this piece will enhance any room it is introduced to. This attractive wool rug was constructed with only the finest hand-spun wool and cotton that have been dyed with organic vegetable dyeing techniques that have been used for generations. Master weavers employ traditional techniques in the construction, creating highly durable textiles that are sure to last for decades if cared for correctly. This elegant red needlepoint is in excellent condition, ready for use in any home. Our team source only the finest interior accessories, with years of experience, let our team help you find the perfect accent pieces for your home interior. Our inventory includes a range of modern rugs, vintage rugs and antique rugs. With a huge range of colours and sizes available now. Hand Woven Carpet Floral Red Needlepoint Rug...

78226 vintage Indian room size rug 12'00 x 17'10. Rendered in variegated shades of black, tan, wine, taupe, sage, burgundy, sand, camel, light green, bra...

77518, antique Belgian Verdure Jagaloon Series tapestry wall hanging, Royal hunting woods. This is a reproduction from King Sigismund Augustus of Poland (later to become Emperor), commissioned the original tapestries from Michiel Coxcie of Mechelen in the mid-16th century. They are now part of the state collection housed in the Wawelburcht Castle in Cracow. The series is called The Jagaloon Tapestries. Royal Hunting Woods, The Forest, Iris, Woody, Timberland, Underwood, Wooden Hills, and Woodland are all parts of a scene from this tapestry series. This antique Belgian tapestry features a landscape forest scene with old world charm. Among the lush forest surroundings, trees and opulent frondescence extend into the scene allowing the viewer to absorb the depth of the artist’s work. Whether in a densely or sparsely appointed interior, this versatile Belgian verdure tapestry lends the perfect amount of 'a joie de vivre' meaning to experience the joys of living, loving and playing by getting back to nature. With its commitment to tradition and heart full of whimsy, this antique Aubusson wall hanging...

An early 20th century scatter size turkish Rug. Ivory, red, brown and camel Measures: 3'3'' x 4'9''.  

An antique central medallion rug is a fine example of an Antique Rug woven in the 1900s. Handwoven with intricate details in orange blue and red accent colours. The design features a...

A Flemish Baroque landscape hunting tapestry from the late 17th or early 18th century, depicting a young Archer carrying a bow and arrow within a forest in a meadowland setting. Encl...

This fine wool rug was hand-knotted in the 1880s in Turkey with locally sourced organic materials. The central design has been woven on a rich rust background with a grand medallion design; flowers and leaves have been intricately woven throughout in blue, beige, and orange accents. The elegant colour palette and design in this small oriental rug...

This fine pue silk rug was woven by hand in Turkey in the 1990s. It features a rich red-orange background with cream and beige accents that make up the symmetrical oriental medallion...

77186-87 pair of mid-19th century antique Italian metallic embroidered velvet pillows with metallic fringe. This pair of antique Italian pillows...

Large Italian Tapestry, Country of Origin / Rug Type: Italian Rugs, Circa Date: Late 20th Century – Size: 11 ft x 19 ft (3.35 m x 5.79 m)

In the Russian "Czarist" style, this south Caucasian, moderately woven kellegi(long rug) shows a navy field covered with a Baroque lacework pattern of claw-fringed cartouches and tal...

74979 vintage Kirman Palace size rug with Luxe Baroque style, Vintage Persian Kerman. Brilliant, alluring color pervades this vintage Kerman Persian palace size rug, a stunning testa...

72122 Oversized Antique Turkish Sparta Rug, 10'09 x 19'01. Turkish Sparta rugs, originating from the southwestern town of Sparta in Turkey, are distinguished by their intricate geome...

These handmade carpet luxury rugs look beautiful and would stand out as dining room rugs or bedroom rugs as an interior design object. These washable rugs are one of a kind and canno...

73615 antique English Garden needlepoint runner with Baroque Floral Chintz style. Drawing inspiration from Mario Buatta with romantic sensibility, this la...

17th Century Pair of Flemish Tapestry ( 2' x 3'4" - 62 x 102 )

77612 Vintage Indian Palace rug with Old World Baroque style. Displaying a timeless design with well-balanced symmetry, this hand knotted wool vintage Indian palace rug astounds with its beauty. The abrashed field an all-over botanical compartment design showcasing a garden pattern arranged in offset columns. Decadent beauty boasting baroque elements this vintage floral area rug...