Wool Western European Rugs
Color: Brown
Material: Wool
Aubusson Rug, Mid-19th Century
Located in San Francisco, CA
Aubusson Rug, Mid-19th Century
Additional Information:
Dimensions: 11'6" W x 13'8" L
Category
Mid-19th Century French Antique Wool Western European Rugs
Materials
Wool
Flake Rug by Rural Weavers, Knotted, Wool, Bamboo Silk, 270x360cm
Located in London, GB
Step into a realm where the elegance of contemporary design gracefully intertwines with the essence of traditional craftsmanship. Our hand-knotted rugs are not just floor coverings; ...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool, Bamboo
Vintage European Rug Carpet
Located in Secaucus, NJ
Vintage European rug carpet. They have been weaving rugs in Romania since the Ottoman Empire, but only since the mid-20th century have they export...
Category
20th Century Romanian Wool Western European Rugs
Materials
Wool
Rectangular Rug by Paul Leleu, circa 1950
By Paule Leleu
Located in Paris, FR
A Knotted woollen rug with red background, with beige geometrical patterns.
Provenance : Private Collection, an apartment Quai d'Orsay decorated by Jansen...
Category
1950s French Art Deco Vintage Wool Western European Rugs
Materials
Wool
French 19th Century 'Entre Fenetre' circa 1890
Located in Secaucus, NJ
A 19th century French 'Entre Fenetre'. A soft pastel floral design, featuring a crown and scepter, together with a decorative bird. Size:1'9 x12'
Category
19th Century French Antique Wool Western European Rugs
Materials
Wool
Traditional Handwoven Luxury Wool Semi Antique Ivory Rug
Located in Secaucus, NJ
Traditional Handwoven Luxury Wool Semi Antique Ivory Rug. Size 6'1"xx6'11"
Category
20th Century Romanian Other Wool Western European Rugs
Materials
Wool
Vintage Scandinavian Deco Rug, circa Mid-20th Century
Located in Los Angeles, CA
This is a vintage Scandinavian deco shag rug, intriguing in design and truly unique among vintage Scandinavian carpets. Crafted in the mid-20th century, the design is abstract in nat...
Category
Mid-20th Century Scandinavian Scandinavian Modern Wool Western European Rugs
Materials
Wool
Vintage Spanish Rug, circa 1940, 5' x 7'4
Located in New York, NY
Vintage Spanish rug, circa 1940 5' x 7'4.. One does not think of Spain and rugs, however weaving has been a part of Spanish culture for hundreds of yea...
Category
20th Century Spanish Wool Western European Rugs
Materials
Wool
Bobyrug’s Nice Antique European Oushak Rug
Located in Saint Ouen, FR
Very beautiful early 20th century European rug, with beautiful design of antique Turkish oushak rugs and beautiful colors, hand made with a special method, with wool velvet on wool f...
Category
Early 20th Century European Oushak Wool Western European Rugs
Materials
Wool
Bobyrug’s Pretty Antique French Jaquar Tapestry
Located in Saint Ouen, FR
Very beautiful late 19th century tapestry with beautiful design of a hunter at the town, and beautiful golden colors, mechanical Jaquar manufacturing woven with wool and cotton.
✨✨✨...
Category
Late 19th Century French Aubusson Antique Wool Western European Rugs
Materials
Wool, Cotton
823 - Small Aubusson Rug
Located in Paris, FR
823 - small aubusson rug.
Category
1940s French Aubusson Vintage Wool Western European Rugs
Materials
Wool
Bobyrug’s Beautiful Antique French Aubusson Tapestry
Located in Saint Ouen, FR
Nice early 20th century French Aubusson tapestry with beautiful design of country scene and beautiful colors, entirely hand woven with wool an...
Category
Early 20th Century French Aubusson Wool Western European Rugs
Materials
Wool, Cotton, Silk
Antique French Aubusson Rug Napoleon III Antqiue Handwoven Aubusson Rug
Located in New York, NY
Rare Authentic Antique French Aubusson Rug Handwoven Rug Handmade Rug Rare Size
13x16 12x15 Rug Rose Beige
1920
12'5" x 15'5"
379cm x 470cm
"This is a great exampl...
Category
1920s French Vintage Wool Western European Rugs
Materials
Wool
Bobyrug’s Beautiful Little 18th Century French Needlepoint Fragment Tapestry
Located in Saint Ouen, FR
Nice little French needlepoint tapestry with beautiful floral design and nice natural colors, entirely hand embroidered with needlepoint method with wool.
✨✨✨
"Experience the epitom...
Category
Late 18th Century French Aubusson Antique Wool Western European Rugs
Materials
Wool
Swans Ducks 18th Century Aubusson French Tapestry Panel
Located in New York, NY
Late 18th century Aubusson tapestry panel made in France. Measures: Height 9 feet 4 inches, width 7 feet 11 inches.
Swans and ducks swimming in a lake...
Category
Late 18th Century French French Provincial Antique Wool Western European Rugs
Materials
Wool
Antique Ivory French Art Deco Carpet
Located in Milan, IT
An outstanding Art Deco carpet distinguished by an ivory background decorated by a large scale floral pattern drawn with intricate detail. Many Art Deco artists took patterns such as...
Category
1920s French Art Deco Vintage Wool Western European Rugs
Materials
Wool
European Anatolian-style carpet with Ushak design featuring birds (Austria)
Located in Firenze, FI
The European rug in Anatolian style with Ushak bird design, entirely handmade in Austria, is a textile masterpiece that combines Anatolian artistic tradition with Austrian craftsman...
Category
1950s Austrian Vintage Wool Western European Rugs
Materials
Wool
English Axminster Rug, 1760
Located in New York, NY
English Axminster rug.
Axminster, Devon, Great Britain, circa 1760 (George III).
Provenance: Baron Guy de Rothschild.
Category
Mid-18th Century English Antique Wool Western European Rugs
Materials
Wool
20th Century Art Deco Hand-Knotted Savonerie Square Rug Wool Brown Floral
Located in Firenze, IT
The Art Deco as a phenomenon of taste has influenced the furnishings of the houses in all its aspects. Carpets like this are born from a renewed taste that has experienced the influe...
Category
Early 20th Century European Art Deco Wool Western European Rugs
Materials
Wool
Large Kilim P IROT
Located in Alessandria, Piemonte
nr. 617 - Interesting large kilim from Pirot, a town in south-eastern Serbia 100 km. from the border with Bulgaria and famous for its wool.
It was certainly intended for an important...
Category
Mid-20th Century Serbian Other Wool Western European Rugs
Materials
Wool
Aubusson Rug from XIX Century Napoleon 3 - n° 1151
Located in Paris, FR
Aubusson rug from XIX Century napoleon 3 with fresh colors.
Thanks to our Restoration-Conservation workshop and also Our know-how,
we are pleased to present to you works of art in...
Category
1850s French Aubusson Antique Wool Western European Rugs
Materials
Wool
Large Panton Style Multi-Color High Pile Rya Rug by Reichel, Germany, 1970s
By Reichel
Located in Kirchlengern, DE
Extra large rug with Panton style pattern.
Decade:
1970s
Oigin:
Germany
Producer:
Reichel Carpets, Germany
This rug is a great example of 1970s pop art...
Category
Late 20th Century German Mid-Century Modern Wool Western European Rugs
Materials
Wool
Framed 18th Cent. French Rustic Tapestry, a Pedant Instructing Children in Music
Located in New York, NY
A framed French rustic tapestry from the 18th century, envisioning a pedant seated on a barrel, instructing a group children in music and the arts within a verdant setting. Enclosed ...
Category
18th Century French Antique Wool Western European Rugs
Materials
Wool
Metallica Contemporary Handknotted Wool Rug Rankin Rugs 'Olive/Gold'
By Rankin Rugs
Located in Berkshire, England
Metallica by RANKIN RUGS - traditionally handknotted in Bulgaria using 100% locally-sourced Bulgarian wool (~125,000 knots per sqm)
All rugs are handknotted in a small family-run wo...
Category
21st Century and Contemporary Bulgarian Modern Wool Western European Rugs
Materials
Wool
Handwoven Modern Aubsson Carpet of Savonnerie Design
Located in London, GB
The town of Aubusson has long since been famous for the high quality of its textiles, its reputation stretching back as far as the 14th Century, as a centre of Medieval tapestry weaving. In the 17th Century, its workshops were given ‘Royal Appointment’ status, commissioned to produce elaborate carpets for the French Court, well-known for their tight weaves and lustrous wool.
This piece is a contemporary recreation of these Aubusson pieces, hand-woven according to the same techniques, with designs characteristic of earlier 18th Century Savonnerie...
Category
21st Century and Contemporary European Aubusson Wool Western European Rugs
Materials
Wool
18cen Extraordinaire Antique French Tapestry Louis XVI Beauvais 89x88cm Silk 3x3
Located in New York, NY
18th. Century Extraordinaire Antique French Tapestry Louis XVI Beauvais Silk
3' x 3' 89cm x 88cm
"This is an extremely fine Authentic Antique French B...
Category
1790s Belgian Antique Wool Western European Rugs
Materials
Wool
Paule Leleu, Pair of Carpets with Aztec-Inspired Motifs, France, 1957
By Paule Leleu
Located in New York, NY
The daughter of Jules Leleu, Paule joined the family company at a young age. Over time she became the firm's colorist and the head of the design studio, where she oversaw the textile...
Category
Mid-20th Century French Wool Western European Rugs
Materials
Wool
Vintage Spanish Cuenca Rug with Renaissance Palmette Design
Located in Milan, IT
The court workshop called 'Real Fabrica de Tapices' has been active in Madrid since the 17th century, supplying handmade carpets woven with Turkish (symmetrical) knots to both the court as well as for export.
Throughout the 20th century their carpets were either woven with French Savonnerie patterns or, as in this case, with designs taken from the Spanish Renaissance weaving tradition. These carpets are known in the trade with the term of 'Cuenca,' which is the city in southern Spain where they were originally woven in the 15th-17th centuries. Here the pattern, which has a raised pile with respect to the ivory background, is distinguished by an infinite repeat of curvilinear palmettes as seen on 15th-16th century Spanish Alcaraz carpets.
Category
1940s Spanish Oushak Vintage Wool Western European Rugs
Materials
Wool
Vintage European Rug in Beige-Brown with Floral Geometric Pattern by Rug & Kilim
Located in Long Island City, NY
Hand-knotted in wool, a vintage 5x5 European rug believed to originate from Ireland circa 1940-1950.
On the Design:
In this piece, beige-brown underscores an all over pattern with ...
Category
1640s Northern Irish Antique Wool Western European Rugs
Materials
Wool
Antique European Rug in Black and Red with Floral Patterns by Rug & Kilim
Located in Long Island City, NY
Hand-knotted in wool, an antique 8x11 European rug originating from Ireland circa 1920-1930 - inspired by Persian rugs of the same and preceding periods
On the Design:
The design e...
Category
1620s Northern Irish Antique Wool Western European Rugs
Materials
Wool
Zabihi Collection Distressed Vintage Turkish Intermediate Size Rug
Located in New York, NY
One of a kind Chic Distressed Mid 20th Century turkish rug with a repetitive borderless pattern in green on a bone colored field
Measures: 5'8'' x 8'11''
Category
Mid-20th Century Turkish Mid-Century Modern Wool Western European Rugs
Materials
Wool
1970s Belgian Pure Wool Carpet – Louis de Poortere
Located in Firenze, FI
1970s Belgian Pure Wool Carpet – Louis de Poortere
In the Middle Ages, Flemish textile products were appreciated throughout Europe for their beauty and quality. Since 1859, the De P...
Category
1970s Vintage Wool Western European Rugs
Materials
Wool
Danish Carpet 1960s 220 x 150 Ege Rya in wool
Located in Firenze, FI
This rug, crafted using the Rya weaving technique in Denmark, is an expression of Nordic design. Made entirely of pure wool, it features a variety of tones ranging from beige to brow...
Category
1960s Danish Vintage Wool Western European Rugs
Materials
Wool
Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
Located in Madrid, ES
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...
Category
Early 18th Century French Baroque Antique Wool Western European Rugs
Materials
Silk, Wool
Flat-weave Kilim carpet by Swedish textile designer Anna Johanna Ångström
Located in Firenze, FI
Flat-weave Kilim carpet by Swedish textile designer Anna Johanna Ångström, featuring geometric patterns and shades of brown. With her signature
Born in 1938, Anna Johanna Ångström i...
Category
1960s Swedish Vintage Wool Western European Rugs
Materials
Wool
Antique English Sky Blue Orientalist Rug
Located in Milan, IT
Clearly inspired by the vogue for oriental carpets which was at its peak around the early 20th century, this rug is distinguished by a polylobed medallion and pendants pattern floati...
Category
Early 20th Century English Belle Époque Wool Western European Rugs
Materials
Wool
Cogolin (France) Hand-knotted rare size 130 x 100
Located in Firenze, FI
Cogolin (France) Hand-knotted carpet from the 1950s. Rare size, 130 x 100 excellent condition.
Founded in 1928 by Jean Lauer, Manufacture Cogolin ...
Category
1950s French Vintage Wool Western European Rugs
Materials
Wool
Homage to the Square Rug 'Beige/Pink/Burgundy' by Josef Albers
By Josef Albers
Located in Jersey City, NJ
This beautiful, hand-tufted, 100% wool rug is adapted from the 1951 oil on Masonite painting by Josef Albers. The rug is available in a limited edition of 150 and produced in associa...
Category
2010s Indian Wool Western European Rugs
Materials
Wool
cc-tapis After Party Natural White Rug by Garth Roberts
Located in Brooklyn, NY
Hand knotted in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a Himalayan wool and pure silk coming from the areas surrounding the atelier. 152.000 individual knots ...
Category
21st Century and Contemporary Nepalese Modern Wool Western European Rugs
Materials
Metallic Thread
Vintage Brown and Yellow Flower Wool Rug by Desso, Netherlands, 1970s
By Desso
Located in Vienna, AT
This brown beige and yellow Space age wool rug has been designed and produced in Netherlands by Desso in the 1970s.
Charming colours and very decorative flower design carpet...
Category
1970s Dutch Mid-Century Modern Vintage Wool Western European Rugs
Materials
Wool
Contemporary Handwoven Area Rug 7'10 x 9'9
Located in New York, NY
Contemporary handwoven area rug, 7'10 x 9'9. This is a brand new hand knotted contemporary rug made from viscose and has the silky sheen that creates a wow in any room it is placed.
Category
21st Century and Contemporary Indian Modern Wool Western European Rugs
Materials
Wool
KINNASAND Carpet Collection Samples
Located in Alessandria, Piemonte
For over 150 years Kinnasand has crafted subtle and refined Nordic inspired designs for curtains and rugs.
Since 2012 has been part of the KVADRAT Group.
These carpet samples are now...
Category
21st Century and Contemporary Danish Other Wool Western European Rugs
Materials
Wool, Silk
1930s Wilton Art Deco Carpet ( 8'10" x 12' - 270 x 365 )
Located in New York, NY
1930s Wilton Art Deco Carpet ( 8'10" x 12' - 270 x 365 )
Category
1930s American Vintage Wool Western European Rugs
Materials
Wool
Nani Marquina 'Ceras 1' Rug 170x240cm for Nanimarquina
Located in Tilburg, NL
Nani Marquina 'Ceras 1' Rug for Nanimarquina, Spain. Current production.
The Ceras collection is the result of a comprehensive study of color by hand-tracing with crayons. An intuit...
Category
21st Century and Contemporary Spanish Modern Wool Western European Rugs
Materials
Wool
Gianni Versace Collection Black and Gold Designer Carpet, Rug. Barocco
Located in Berlin, DE
Extremely rare and unique carpet by Gianni Versace.
From first owner.
Carpet has light pile abrasion on one side.
Overall good condition.
Including "Certificate of Authenticity" f...
Category
20th Century Italian Modern Wool Western European Rugs
Materials
Wool
Flake Rug by Rural Weavers, Knotted, Wool, Bamboo Silk, 300x420cm
Located in London, GB
Step into a realm where the elegance of contemporary design gracefully intertwines with the essence of traditional craftsmanship. Our hand-knotted rugs are not just floor coverings; ...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool, Bamboo
Honey Rug by Rural Weavers, Tufted, Wool, Viscose, 150x240cm
Located in London, GB
Discover a harmonious blend of modern design and age-old artistry with our hand-tufted rugs. Each piece is a canvas where contemporary patterns meet the soul of traditional hand-tuft...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool
Mid 17th Century Brussels Tapestry ( 10'6" x 15'6" - 320 x 472 )
Located in New York, NY
Mid 17th Century Brussels Tapestry ( 10'6" x 15'6" - 320 x 472 )
Title: Mythological scene.
Size: 10’6” x 15’5”
Period: Circa 1650
Origin: Brussels? No mark
Workshop: Unknown
Structu...
Category
Mid-17th Century Belgian Antique Wool Western European Rugs
Materials
Wool, Silk
Tan Lines Rug by Rural Weavers, Tufted, Wool, Viscose, 240x300cm
Located in London, GB
Discover a harmonious blend of modern design and age-old artistry with our hand-tufted rugs. Each piece is a canvas where contemporary patterns meet the soul of traditional hand-tuft...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool
Topographical Wool Rug Group by Alfhild Külper
Located in New York, NY
"Grassland Haze" is a group of three rugs by Amsterdam-based Swedish artist Alfhild Külper in a pixelated combination of chocolate, purple, and sky blue. The yarn used in each rug i...
Category
2010s Dutch Wool Western European Rugs
Materials
Wool
Caviar Rug by Rural Weavers, Tufted, Wool, Viscose, 240x300cm
Located in London, GB
Discover a harmonious blend of modern design and age-old artistry with our hand-tufted rugs. Each piece is a canvas where contemporary patterns meet the soul of traditional hand-tuft...
Category
2010s Indian Minimalist Wool Western European Rugs
Materials
Wool
Sophisticated Moody European Sized Lattice Fence Design Antique Rug
Located in Milwaukee, WI
Nora Sophisticated Moody European Sized Lattice Fence Design Nora Antique Rug
About: An incredible piece woven ever so finely with sensational abrash all wrapped up in a nice Europe...
Category
1920s Vintage Wool Western European Rugs
Materials
Wool
Nani Marquina 'Ceras 1' Rug 200x300cm for Nanimarquina
Located in Tilburg, NL
Nani Marquina 'Ceras 1' Rug for Nanimarquina, Spain. Current production.
The Ceras collection is the result of a comprehensive study of color by hand-tracing with crayons. An intuit...
Category
21st Century and Contemporary Spanish Modern Wool Western European Rugs
Materials
Wool
Cracked Rug by Rural Weavers, Tufted, Wool, Viscose, 180x270cm
Located in London, GB
Discover a harmonious blend of modern design and age-old artistry with our hand-tufted rugs. Each piece is a canvas where contemporary patterns meet the soul of traditional hand-tuft...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool
Caramel Rug by Rural Weavers, Tufted, Wool, Viscose, 240x300cm
Located in London, GB
Discover a harmonious blend of modern design and age-old artistry with our hand-tufted rugs. Each piece is a canvas where contemporary patterns meet the soul of traditional hand-tuft...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool
One of a kind Suraj Ki Pehli Kiran Rug, Knotted, Wool, Bamboo Silk, 78x120cm
Located in London, GB
"Discover the unparalleled allure of our Artisan Collection, where each rug is a one-of-a-kind masterpiece, a testament to unmatched exclusivity and artistic brilliance. These creati...
Category
2010s Indian Rustic Wool Western European Rugs
Materials
Wool, Bamboo
Flake Rug by Rural Weavers, Knotted, Wool, Bamboo Silk, 360x540cm
Located in London, GB
Step into a realm where the elegance of contemporary design gracefully intertwines with the essence of traditional craftsmanship. Our hand-knotted rugs are not just floor coverings; ...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool, Bamboo
Cracked Rug by Rural Weavers, Tufted, Wool, Viscose, 150x240cm
Located in London, GB
Discover a harmonious blend of modern design and age-old artistry with our hand-tufted rugs. Each piece is a canvas where contemporary patterns meet the soul of traditional hand-tuft...
Category
2010s Indian Modern Wool Western European Rugs
Materials
Wool
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