Silk Rugs and Carpets

Qom rugs (or Qum, Ghom, Ghum) are made in the Qom Province of Iran, around 100 km south of Tehran. Although rug weaving in Qom was not a major industry until the past 100 years, the ...

Extremely Fine Persian Tabriz Rug 13’0" x 13’0". The enormous output of carpets and scatters in virtually every style: medallion, centralized, directional or allover, trein a variet...

Via Como - 'Royal Palace Blue' Rug - Size 10' x 13' Material: 85% Wool - 15% Silk It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-...

76935 Vintage Turkish Silk Hereke Rug, 09’10 x 13’10. This exceptional hand-knotted vintage Turkish silk Hereke rug is a stunning representation of the intricate artistry and fine cr...

This 6x8 abstract rug is a new addition to Rug & Kilim’s contemporary rug collection. Hand-knotted in wool, cotton, and silk, its design enjoys a lively presence with splashes of b...

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...

Handwoven in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a cotton weave, Himalayan wool and bamboo silk pile coming from the areas surrounding the atelier. The sal...

Floral White, 250 KPSI, Nain with Flower Medallion Design, Hand Knotted, Wool and Silk, Oversized, Oriental Rug Primary materials: Wool & Silk Latex: No Pile height: 0.25 Inches Sty...

An unusual design for the Ikat design pool, in fairly good condition, the coat has a Russian cotton print as a lining and it is padded with cotton for winter use. Sleeve to sleeve: ...

This is a magnificent pure silk Qum rug. 700 Knots per inch, Size 14.7 x 21.4 Iran Qum Silk and Silk foundation. Around 31,000,000 knots tied by hand one b...

This is a late 19th / early 20th C. silk embroidery on a cotton foundation from Castello Branco from Portugal.

78617 Antique French Aubusson Pillow, 01'01 x 00'11. Reflecting elements of Greco-Roman mythology with meticulous details and texture, this handwoven antique French Aubusson pillow i...

Damier by the cc-tapis design-lab, a high-end handwoven rug adaptable for any interior space. A simple and geometric design available in Mini, Standard an...

Antique Tapestry 9’4” x 14’10”.

An 18th century French Felletin chinoiserie mythological tapestry, size 11'6"H x 17'9"W. This grand mythological tapestry depicts a mythological forest scene, with various satyrs and other mythological figures reveling in Dionysian fashion in the confines of the woodland setting. Finely detailed, with nimble articulation of figures and form, the piece also incorporates chinoiserie motifs, with stylized trees and bushes that have Oriental styling. The lower right corner of the primary field features both the town mark and weaver's mark, as well as the French symbol of the fleur de lis. The tapestry is enclosed within an elaborate outer border, featuring pendant...

Contemporary High and Low Gray Diamond Rug Size: 15'0" × 20'0" (457 × 609 cm) A contemporary, geometric, high-low hand-knotted in wool and silk rug. A masterful high-low weaving tech...

This is a truly genuine one-of-a-kind Ivory Silk with Textured Wool Tree of Life Meditation Design Hand Knotted Oriental Rug. It has been woven for months and months in the centuries...

Needlepoint rugs were created using the traditional needlework weaving technique that is used to make everyday items from furniture to carpets and artwork. However, it has a fascinating history both as a hobby and as an industry. When many people think of carpets, they think of pile carpets or flat weave kilims, but needlepoint has also been used to create beautiful carpets. These carpets are durable and an important part of carpet history. Archaeologists and scholars consider the roots of needlepoint to have been around 1500 BC. They consider the first needlepoint to include the fine diagonal stitches that were used to sew tents together by the ancient Egyptians. The art eventually evolved into tapestry weaving. However, a tapestry weaving differs significantly from needlepoint in that it uses a loom and vertical warp. Tapestry weaving is closer to the weaving of kilims and pile rugs than canvas work. However, some still include tapestry weaving in the category of needlepoint because of the fine work that appeared during the late Renaissance. It can have a similar appearance to the untrained eye. Technically, tapestry weaving and needlepoint are not the same, and they do not use the same technique. The first actual needlepoint rugs and needle-points began to appear in the late Renaissance. Needlepoint is worked by creating stitches on a stiff canvas. The canvas is typically made from jute or linen and is quite durable. Pieces from the Renaissance were used to cover footstools, chairs, pillows, bed headboards, and other furnishings. They were also used as table coverings and wall coverings. You could also find them on many small items such as purses, shoes, and various adornments for clothing. During the Renaissance, the craft reached a high level of skill, and the designs became incredibly detailed and realistic. They mimicked many of the subjects and styles of famous paintings of the time. They created florals, still life designs, scenes, and geometric tiled pieces. Some of them mimicked the designs found in Persian Carpets. Needlepoint reached its peak popularity in the 19th century when it was considered a proper occupation for a lady. Needlepoint and embroidery held a similar place in societal status at the time. During this time, the work became finer, with some of the canvas reaching a high level of detail. The level of detail is determined by counting the number of mesh in an inch. During this time petit point by French needlewomen could have a mesh count as high as 45 mesh. This allowed women to create highly intricate designs with incredible levels of detail. It is possible to find many antique pieces of needlepoint besides rugs. Needlepoint rugs were popular in France and Spain, where the technique was adapted to create highly intricate designs that mimicked the designs in architecture and fashion. They were popular because they were durable, and it could be fashioned into a variety of items. The canvases themselves were durable, and the wool that they used was also strong, which means that many of the pieces were able to withstand daily use. We have many artifacts that have survived from this time period. Needlepoint rugs are important collectibles because they are different from the pile rugs and kilims that are typically found on the market. Needlepoint carpets are special because they take many hours to create, especially larger works. Needlepoint pieces of any type became popular throughout Europe during the 19th century. It is still a popular hobby today, but perhaps one of the most interesting stories is that of the Portuguese needlewomen of Arraiolos. The story of these women and their beautiful carpets begins in 1492. Needlepoint was a popular occupation in Spain, which had a large population of Moors and Jews. They were an integral part of Spanish culture. However, in 1492, Queen Isabella of Spain issued a proclamation that gave these ethnic groups the order to pack their bags and board ships headed...

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 beautiful 20th century Aubusson tapestry with a design with a signature « Popelin » , probably iinspired by the paintings of French painter « Francois Boucher » with the shepher...

This suzani is embroidered on a silk background. It is an early 20th c example of probably Ferghana Valley suzanis in Uzbekistan.

77865 Vintage Persian Silk Qum Hunting rug with Medieval Style 03'04 x 05'00. Drawing inspiration from King Henry VI of England and Medieval style, this ha...

Rug Number 31578 Size 9' 0" X 12' 0" Design Enenra Collection Yokai Material Bamboo Silk Texture Pile Weave Origin India Age New

This suzani is an example to the group of suzanis done in Tashkent Uzbekistan, are called ‘moon sky’ (Ai palak). Technically ther are all done in basma stitch...

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...

17th century Antique Aubusson/Gobelin tapestry, France Architectural landscape, silk Antique Museal Aubosson tapestry made of silk and partly wool. Very fine and antique design. Dep...

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: 27921 Size: 9' 1" x 12' 0" Design: Year of the Snake...

This beautiful palace size (17.1' x 27') Nain Persian rug is woven using a delicate color palette, with shades of ivory, blue, and beige featured prominently in the floral motif and ...

An 18th century Brussels mythological hunting tapestry, size 9' H x 8' W, depicting the Roman goddess of the hunt, Diana, reposing in a forest setting with her attendants, with one h...

Creating a relaxed and luxurious ascending design, Belgian Lace is a hand-knotted carpet originating from the Orley Shabahang Architectural collection. En...

This Silk Kashan Rug is a testament to the enduring allure of Persian craftsmanship. Measuring a generous 13 feet by 10 feet, it features a luxurious composition, woven with a pile o...

This art nouveau blue, cream, brown, and green wool and silk Persian rug, sized 4' x 6', showcases a mesmerizing blend of colors and i...

77218 Vintage Turkish Hereke Silk Prayer Rug, 04’00 x 06’00. Effortless beauty meets timeless appeal in this vintage Turkish silk Hereke prayer rug. The stylish levels of complexity and refined color palette woven into this piece work together evoking worldly sophistication. This hand knotted vintage Turkish silk Hereke prayer rug, inspired by the renowned Zareh Penyamin and the intricate artistry of Koum Kapi...

This stunning Turkish Hereke rug, hand-knotted in the 1970s, is a masterpiece of artistry and craftsmanship. Made entirely of pure silk, it features a luxurious texture and intricate...

Tabriz rugs are well known for their excellent weaving and design. One of the very famous patterns of Tabriz rugs are Fish design known is Mahi and is one of the classis patterns produced by the masterful carpet in Tabriz. This beautiful piece has wool and silk pile with cotton foundation. The base color is brown and the border is cream. Mahi rugs...

Vintage Uzbak Suzani Embroidery Textile 2'0" x 2'7''.

Born in France. Designed in Milan. Produced in Nepal. cc-tapis is an Italian company which produces contemporary hand-knotted rugs which are created in Nepal by expert Tibetan artis...

This pillow case is made from a Mid 20th C. Silk velvet, usually used for caftans/ chapans and quilts. It does not come with an insert, but a bag made to size to accommodate inser...

'Gravitación 1994' rug by Eduardo Chillida for Nanimarquina. Born in 1924, Eduardo Chillida was a celebrated and prolific Spanish sculptor. He began his life work in Paris, but i...

Located a stone's throw from the Eiffel Tower in Paris, we are a French family business specializing in the purchase, sale, expertise, cleaning, restoration and conservation of tapes...

Capri, also known as "Sea of Love," is a mainstay original design by Joseph Carini. A luxurious and sophisticated carpet, this design is versatile for many different styles and taste...

This 9x12 abstract rug is the next addition to Rug & Kilim’s bold modern rug designs. Hand-knotted in wool and silk. Further on the Design: This piece draws inspiration from origa...

Suzanis from the regions of Tahkent and Pishkent have some astral names such az ‘moon sky’, ‘star sky ‘. The main characteristic of these suzanis is that of ...

Modern Custom Art Deco High-Low Hand Knotted Rug by Doris Leslie Blau Size: 4'3" × 5'3" (129 × 160 cm). Exclusively available at Doris Leslie Blau, where tradition meets design excel...

Vintage Tabriz Pictorial Rug in Kork, Silk and Cotton 9'5 X 6'9 Key Details: Pile: Kork and Silk Foundation: Cotton Origin: Tabriz pictorial Design: Pictorial Approximate Age...

Finely Woven Antique Chinese Textile, Country of Origin: China, Circa Date: Late 19th Century

Via Como - 'Chinoiserie' Rug - Size 8' x 10' Material: 70% Wool - 30% Silk It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted with the finest New Zealand Wool by skilled artisans, using a centuries old technique preserved through centuries. To hand make this rug, it takes the artisans about 6-9 months to weave. Via Como, the pinnacle of ultra high-end hand-knotted rugs. Renowned for their unrivaled artistry and exclusivity, Via Como rugs...

Antique silk warp Senneh woven in dark earth tone colors. Silk warp Sennehs are often referred to as "Rainbow Sennehs," as the warp on which the wool pile is constructed upon is comp...

Via Como - 'Ligure' Rug - Size 10' x 13' Material: 85% Wool - 15% Silk It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted wit...

Dramatic one-off bespoke custom color double climbing leopard silk rug designed by Diane Von Furstenberg for The Rug Company. Signed and numbered rug commissioned by Samantha Todhunt...

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...

Very beautiful antique Aubusson tapestry with a nice design featuring a medieval and gothic design featuring a garden with animals, with beautiful colours, with blue, green , brown, ...

Nice vintage Turkish Kayseri rug with a beautiful mihrab design and nice colours with a green field with blue, orange and pink in design, entirely hand knotted with silk on cotton fo...

Very beautiful and fine Aubusson tapestry with a nice design featuring two cows under the tree , with beautiful natural colours, with yellow, beige, brown and green, entirely and fin...

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. ...

This 2x10 antique Chinese textile runner is an incredibly rare and exciting new curation from Rug & Kilim—an early 19th century embroidery panel with a bold pictorial design, handwov...

Late 19th Century Silk & Gold Thread Chinese Embroidery (1'6" x 14' - 46 x 247)

78513 Antique Uzbek Bukhara Suzani Tapestry, 04'09 x 07'04. Design a room that feels well-traveled and effortlessly inviting with this woven wonder of the world, whether it be used ...

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...

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Antique Kashan Tafazoli Pair Rug in Silk, Wool and Cotton 6'9x4'4 Key Details: Pile:Wool and silk Foundation:Cotton Origin: Kashan Tafazoli pair Design: Center medallion Appr...

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This magnificent 20th century vintage silk Hereke rug represents the pinnacle of luxury and craftsmanship. This masterpiece from Turkey's famous weaving town Hereke has a rich histor...

This is an unusually large Matyo embroidery that has a heavy enough body to go on a floor.

A beautiful contemporary design carpet, hand knotted using Sari silk (60%) and wool (40%). Collection: "SUNSET" / Djoharian Design, inspired my Tibetan Tiger Rugs This is a product...

It is made from an early 20th C.. Ikat fragment. It does not come with an insert. Cotton in the back. Zipper closure. Dry clean only.

Pretty Mid Century Turkish Kayseri rug with beautiful mihrab design and nice colors, entirely hand knotted with silk and cotton on cotton foundation. ✨✨✨ "Experience the epitome of ...

Part of a design collaboration with maximalist Interior designer Sasha Bikoff @ Sasha Bikoff Interior Design. Characterful line of hand knotted ru...

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...

An incredible mid-20th century 100% hand-woven silk Persian Qum rug depicting myriad animals including deer, rabbits, jaguars, rhinos, birds, and so many more, living amidst a forest...

Very beautiful mid century tapestry with beautiful design of a museum tapestry and beautiful colors, entirely hand embroidered with needlepoint method ...