European Rugs and Carpets

Vintage Swedish Modernist design wool wall rug Finely woven wool rug somewhat reminiscent of a native American Navajo Chiefs blanket 168 x 86 cm approximate Period 1960s Conditi...

Early 20th Century English Needle Point Rug Size: 4'1" × 6'0" (124 × 182 cm) This early 20th-century needlework rug represents classic English needlepoint craft. It was made by hand,...

Antique Bessarabian Rug, Circa 1910, 4' x 6'. These are flat-woven (pretty much reversible) graphic rugs, with high contrast and vibrancy. These rugs are incredibly charismatic and f...

William Morris machine made English carpet Circa 1920 Size: 12'7" × 14'1" (383 × 429 cm) A second quarter 20th century English carpet in the style of William Morris in the famous tul...

Antique Persian Seneh Oriental Rug, in Small size An antique Persian Seneh oriental rug, size 6'0" x 4'6", circa 1900. This handsome collectible carpet features a central medallion ...

Vintage Art Deco Camel, beige, brown handwoven wool rug Size: 13'5" x 13'5" (408 × 408 cm) An early 20th century European Art Deco rug, the camel field with polychrome curving branch...

A French Aubusson “Louis XIV” allegorical tapestry from the late 17th or early 18th century, depicting an allegory of Spring, with Flora crowned b...

This is a Hand made Swedish country Rag Rug out of cotton.

Nice mid century French Aubusson style Cogolin rug with beautiful floral design and nice colours , entirely hand knotted with wool on cotton foundation ✨✨✨ "Experience the epitome ...

In this listing you will find a gorgeous large Mid Century Modern Woolen Rug, inspired by Art Deco. The Art Deco pattern of the hand fans enhances the eleg...

This carpet, designed by Pierre Balmain in the 1970s in France, is a rare example of the "Kyoto" pattern and was produced in Belgium by the Van Neder company. Worked in wool, it has...

78835 Anne Marie Boberg Vintage Swedish Rollakan Rug, 05'05 x 08'00. Woven in the golden age of Scandinavian modernism, this handwoven wool vintage Röllakan rug is an exceptional and...

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...

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...

Authentic 18th Century Bold, Floral Gobelins Tapestry Size: 11'8" × 13'5" (355 × 408 cm) An early 18th century Gobelins Tapestry, the black field w...

79051 Vintage Scandinavian Swedish Rya Rug, 05'03 x 07'06. This exquisite vintage Swedish rya rug is a canvas of warmth and vibrant energy, a testament to mid-century Scandinavian de...

Hand-woven wool. Made in Sweden. Measures: 6'6 x 9'7. Date: 1960s. Mid-20th Century. Missing a few. fringes otherwise in very good condition. Ingegerd Silow (1916-2005) was an influe...

78489 Vintage Swedish Kilim Rollakan Rug by Judith Johansson, 06'04 x 08'07. This captivating vintage Swedish rollakan rug, titled "Dvärgbjörk" (Dwarf Birch), is a stunning creation ...

Antique English Axminster handmade carpet is very famous as English designer rug in excellent condition, circa 1880s. This red rug is kind of traditional patterned rugs has a most elegant design with attractive color combinations. And is a very good idea as a large living room rugs or dining room rugs. These large area rugs have very highly recommended by the interior designer as a luxury rug. And getting more attention in the Oriental rug store by clients. Handmade carpet rare antique rugs...

The size denotes that the piece was embroidered as a pillow top.

This vintage 9x12 Scandinavian rug is a rare Ega Rya rug in the new additions to Rug & Kilim’s classic collection. Hand-knotted in lush, high p...

A Mid-Century Modern vintage handmade Swedish carpet in wool featuring a geometric pattern. This blueish colored Scandinavian rug dates between 1950 and 1970. The tradition of qualit...

78092 Antique English Needlepoint Tristan and Isolde Tapestry with Medieval Style 02'04 x 03'05. Drawing inspiration from Viking love-romance history and Celtic legend, this handwoven wool antique English needlepoint tapestry beautifully embodies Medieval style. The wall tapestry depicts Isolde and Tristan drinking the love potion. This is a Petit Point with metallic thread (possibly silver/gold). The colors join to create a truly compelling dance, and inaudibly speak with a timeless voice that is characterized by sensual decadence, as well as by stately action. All facets of this piece collectively entwine to form the striking and grand charm of a textile that is worthy to depict the tender, emotive, and vibrant details of humans and histories, no longer known. With its commitment to tradition and heart full of whimsy, this Medieval style tapestry...

This stunning rare original rug dates from 1989 and has the Missoni signature and date woven into the corner. In pure wool and full of colour and geometric patterns it is certain to ...

Large modernist 100% jute Mid-Century Modern Danish graphic art screen print tapestry. Wood dowels are in the ends for hanging.

Very pretty mid century French tapestry with nice galant design titled “Repos Fontaine” (Fontain Rest) and beautiful colors, woven with mechanical Jaquar looms with wool, acrylic and...

Oversized Savonnerie Antique Beige Handmade Wool Rug Size: 15'0" × 19'9" (457 × 601 cm) Savonnerie was the most prestigious European manufactory of knotted-pile French Savonnerie car...

Swedish elegant grey and creme with geometric patterns. Made of wool. It is very soft and in excellent condition for its age. Designed and produced in the 1950s. All fringe are in go...

19th Century English Needlepoint Carpet ( 17'4" x 24'3" -528 x 739 )

79062 Anna Johanna Angstrom Vintage Swedish Rollakan Rug, 05'05 x 07'08. This handwoven wool vintage Scandinavian Swedish rollakan rug, titled “Aniara”, is a stunning creation by the...

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...

Aubusson rug - Around 1850 Napoleon III style - 1m95x1m40, N° 879 Period: 19th century Condition: Perfect condition Material: Wool & Silk Width: 1m95 Length: 1m40 Close to the Eiffe...

Single wefted and tied with single warp knots, this tone-on-tone Cuenca carpet has a golden beige field displaying a curved tree and cartouche pattern in a light brown. The neutral e...

The unusual camel field of this period Axminster carpet appears behind the in and out palmette, leaf and vine pattern adapted from virtually contemporary Indian Mughal carpets. The p...

Vintage Swedish Flat Weave Rug by Ingegerd Silow, Signed “I.S.” – A Soft Geometric Masterpiece Size: 4'4" × 6'9" (132 × 205 cm) This exquisite Swedish flat weave rug, designed by Ing...

The Kartell carpet collection consists of four different models of propylene-backed polyamide rugs. All patterns are digitally printed.

1960s RYA rug made in Denmark. This rug contains lovely earth tones I've never seen in a RYA rug before.

Luxury Natural Shape Hand-Dyed White Sheepskin Artistic Rug by Carine Boxy Dimensions: 300 x 200 cm Materials: Naturally dyed sheepskin Size and color can be customized upon request...

79052 Ingegerd Silow Vintage Swedish Rollakan Rug, 05'06 x 07'08. This captivating, handwoven wool vintage Swedish Rollakan rug is a precious embodiment of Scandinavian artistry—wher...

Vintage Mid-Century rug by Swedish textile designer Ingegerd Silow. A blue base in the centre is surrounded by a geometric flower design in blue, green and pink with a brown border. ...

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

79037 Ingegerd Silow Vintage Swedish Rollakan Rug, 05'03 x 07'09. A true collector’s treasure and a symbol of Scandinavian artistry at its most refined, this handwoven wool rollakan ...

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

Very beautiful antique French Aubusson tapestry fragment featuring flowers and trees With nice natural colours in the hues of yellow, green, pink, purple and brown, entirely hand wov...

Handwoven in wool and originating from France circa 1950-1960, this 4×6 vintage tapestry is a signed collectible from the mid-century Aubusson works of French weaver Jean Lurcat. O...

Made of 100% fine Tencel, the Dominus Daino rug goes beyond the classic rectangular carpet; it is a square rug, with a minimalist, elegant style. This handloom carpet...

Scandinavian design is so wonderfully inspired by Natural forms. This cool, colorful Scandinavian Wool 1960s / 1970s era RYA shag rug is such a great statement piece! The pile is 2 inches long and this is a nice large RYA rug...

Beautiful French Jaquar Aubusson style tapestry, with nice romantic design and beautiful colors, mechanical Jaquar fabric with wool woven. ✨✨✨ "Experience the epitome of luxury and ...

76928 Late 19th-Century Antique French Aubusson Verdure Tapestry, Landscape Scene Wall Hanging. This hand-woven silk and wool late 19th-century antique French Aubusson verdure tapestry depicts a landscape scene of the French countryside. Displaying dense foliage, greenery, fauna and flowers, this verdure tapestry portrays a tranquil setting. The floral scroll and bird border seamlessly blends into the pictorial scene without taking away from the majestic style. An outer border composed of a zigzag chevron add interest and a pop of color. Rendered in variegated shades of brown, ecru, taupe, pale green, slate blue, red, pink, lavender, beige and charcoal. The hues of brown range from chocolate brown to lighter shades of brown reflecting a fallow color to sand. Other colors range from ecru (greyish-pale yellow or a light greyish-yellowish brown) to old gold (yellow color that varies from light olive or olive brown) and hues of olive and sage green. With its commitment to tradition and heart full of whimsy, this antique Aubusson wall hanging...

Mid 20th Century Swedish Rya Carpet ( 8' x 11'6" - 245 x 350 cm )

- Good original condition with minor signs of use - Item has been cleaned

1930s French Art Deco Carpet ( 8'5" x 10'5" - 257 x 318 )

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...

Black organic plush longhair sheepskin fur rug with dark brown highlights. This soft floor covering also makes a beautiful throw for displaying on a chair or sofa. Fur Origin: Icelan...

Beautiful little modern tapestry with an abstract design from Gilles Duvert, entirely hand embroidered with wool. ✨✨✨ "Experience the epitome of luxury and craftsmanship with our ex...

Nice french tapestry with beautiful gallant scenes with lovers on the beach and nice colors, mechanical Jaquar manufacturing with wool and cotton. ✨✨✨ "Experience the epitome of lux...

The spectacular and unique design of the limited edition Evolution Part I rug is half traditional and half dynamic contemporary style. The exquisite accessory i...

an early 20th-century Spanish Savonnerrie Rug Details rug no. 10785 size 11' 7" x 15' 1" (353 x 460 cm

78542 Antique French Tapestry with Dutch Pictorial Scene, 03'02 x 04'03. This captivating handwoven wool antique French tapestry depicts a charming Dutch pictorial scene, evoking the...

Very beautiful late 19th century French Aubusson tapestry with a nice design of a village, with nature, trees, birds, a river, chickens. a mill on the edge of the river, village hous...