Wool Western European Rugs

Antique French Aubusson Carpet - 1st Empire Period French 19th century rooms must often have been square since so many carpets of the c...

Authentic Savonnerie Handmade Wool Rug Size: 24'0" × 29'10" (731 × 909 cm) This turn of the century antique French Savonnerie rug features an oval central medallion outlined in dark ...

Handwoven in wool and originating from France circa 1970-1980, this 3×6 vintage tapestry is a signed collectible from the Aubusson works of French weaver Jean-Michel Lartigaud “The B...

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 ...

This antique, circa 1860, French Savonnerie rug has a soft chocolate-brown field with an outer sandy-yellow frame panel issuing inward brick-red acanthus leaves containing a shell mo...

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

This product is part of the Prism Palette collection, an exclusive collaboration between LAYERED and the Scandinavian visionary artist and designer Tekla Evelina Severin, known as Te...

A harmonious amalgamation of artistry and nature, 'Winter Rose' by RAG Home is an abstract rendition that unveils the essence of a single rose blossom in December. Delicate shades of...

77764, antique French Verdure tapestry. This hand-woven antique French Aubusson verdure tapestry depicts a landscape scene of the French countryside. ...

1960s mid century modern retro English shagpile rya rug. Made from nylon and wool in different shades of orange, green, yellow and brown. A green sun design with yellow abstract fl...

Beautiful mid century French Cogolin rug with a nice decorative and simple design, with a white pile of design on the orange foundation, hand made by wool on wool foundation Damage...

The ‘Santorini Sunrise’ contemporary rug design proudly showcases the distinctive features of Cycladic architecture, drawing upon the island’s rich heritage. Reflecting the iconic cu...

'Collage 1966' 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 it wa...

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...

Hand-knotted in wool from France, this 8x11 Antique Savonnerie rug in the Neoclassical style is a rare masterpiece from Rug & Kilim’s European rug collection. On the Design: Admi...

Early 20th Century Irish Donegal Arts & Crafts Carpet 9' 6"x 14' 6"

French Art Deco Rug Size: 14'8" × 22'7" (447 × 688 cm) A French Art Deco rug hand knotted in the 1980s. The modernist artists attempted to depart from traditional forms of art, which...

This 3x5 vintage Aubusson tapestry is a rare and special new curation from Rug & Kilim—a signed mid-century original by French artist Jean Claude Bissery, entitled “Musique champêtre...

This Scandinavian high pile rug has been designed and produced in Denmark 1960s. Charming and very decorative graphic design carpet in wonderful shades of orange and yellow. Looks fa...

Beautiful vintage French Aubusson style tapestry with a nice design of the nature with trees, vegetation inside the wood, and with a river. and with beautiful colours, entirely woven...

Hand-woven in wool and originating in France circa 1970-1980, this 3x5 vintage tapestry is both rare and extremely collectible as one of Jean Picart Le Doux’s signature pieces and as...

73139 Late 19th Century Antique French Aubusson Tapestry, 05'02 x 06'04. Woven in the celebrated ateliers of Aubusson during the late 19th century, this exquisite French tapestry ech...

Geometric elements, evoking the avant-garde textiles of the early 1900s, a theme which runs through the whole Hello Sonia Family, are now arranged harmoniously in a musical score...

Maison Myrbor was a French manufacturer and retailer of carpets founded by Marie Cuttoli (1879-1973). The first workshop was set up in her home in Sétif,...

Impi Sotavalta (1885-1943) Finnish hand-woven wool lavender and marigold geometric ray rug, c. 1928, Finland. Gorgeous thick pile. Rare, divine color co...

78758 Vintage Irish Donegal Rug Inspired by William Morris, 11'03 x 15'03. Irish Donegal rugs, originating from County Donegal, Ireland, are celebrated for their thick pile, intricat...

Introducing a Modern Design meets Neo Classic with a touch of Bohemian flair! Elevate your space with our exquisite macramé hangings. Crafted from natural materials like cotton rope ...

Beauvais, France. Depicts arrival at a castle, royal horse being heralded by trumpeter and escorted by two guards, continuous floral border and two minor borders. Linen and wool slit weave Beauvais technique with natural indigo, weld, walnut husk, tannin variegated, lichen and moss greens. Condition: Good. Original border intact, minor repair and protective reconstruction with back added as structural safeguard. Some areas with holes, some areas of repair to border. Measures: 8'7'' wide x 10'1'' long. Tapestries make integral part of the Flemish cultural heritage. Most of the tapestries have religious, mythological and historical subjects as well as hunting and harvest scenes. They are known for their high quality and extended use of colors. The oldest ones were made in the 13th century. The most important production centers were Doornik and Arras. These two centers got a lot of assignments of the Dukes of Burgundy. In the 14th century tapestries...

Large wool carpet featuring designs by the renowned fashion house Missoni, founded by Ottavio Missoni, for T&J Vestor, a company specializing in manufacturing for prominent fashion b...

Magnificent Authentic Antique French Aubusson Rare Brown 10x12 1870 Handwoven 10x12 C.1870 "This is a magnificent pre-1900 antique Napoleon III French Aubusson. It has a soft blue background and beautiful bold design"-Antique Rug Collection Size 10' x 12' Serial ID # 10734k Design French Aubusson Origin France Age Circa 1870 Category Antique Pattern Floral Material 100% Hand woven wool Foundation Material Cotton Color Brown, Black, Ivory, Pink, Red, Yellow, Green Quality Fine Condition Great Condition Consistent With Age and History, old restorations, Overall Magnificent Piece to Last for Generations History~ Carpet production in France almost came to a complete halt during the turmoil of the French Revolution. The revolutionaries felt that woven carpets were luxury items affordable only by the nobility. Existing carpets, especially those commissioned by Louis XIV for the Grande Galerie, were used by the Directoire for themselves, after cutting out any royal emblems...

French Deco Round Rug by Paule Leleu Size: 8'8" × 8'8" (264 × 264 cm) A wonderful example an Art Deco rug by Jules Leleu (1883-1961), a French furniture and carpet designer. Signed L...

An antique Spanish Cuenca throw rug, in the Arts & Crafts style, handmade during the 19th century. Measures: 3' 3" x 6' 7".

A phenomenal Persian Mahal/Sultanabad Carpet woven by the Swiss firm, Ziegler & Co. What makes this rug outstanding is that its Predominantly green, 8'2'' x 10' In the late 1800s...

Chasseurs endormi ( the sleeping hunter ) Very beautiful mid 20th century French Aubusson tapestry featuring a part of the famous painting of J.B Huet, titled « hunters rest ». With ...

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...

Very beautiful and fine Aubusson tapestry with a nice design featuring an elegantly dressed boy, with beautiful natural colours, with blue, red, green and beige, entirely and finely...

Very pretty mid century french Aubusson style tapestry with beautiful design from the painter « Francisco de Goya (1775-1792) for the royal manufactury of Tapestry » Tapestry crafte...

Handwoven in a wool flatweave circa 1880-1890, this 2x3 antique Swedish tapestry is a rich treasure from the Scandinavian Rollakan and Flamskv...

This rug is a harmonious blend of earthy hues, reminiscent of nature's own palette. Intricately tufted into an array of organic shapes, this rug emanates a tranquil ambiance - exactl...

Tapis Shaped #029 also known as Ray Rug is an avant-garde piece by HOMMÉS Studio x TAPIS Studio. Part of our Shaped Collection that is perfect for an irreverent interior look, from t...

Portman Gallery is pleased to offer a 1930s Swedish short knotted pile carpet by Martha Gahn. An exemplary Swedish Grace, as art deco was called ther...

French Art Deco Rug Size: 11'2" × 14'8" (340 × 447 cm) A remarkable vintage rug, from Doris Leslie Blau Collection, features a timeless elegance. This vintage French Art Deco rug fea...

A carpet 182 cm. in diameter, worked in Scandinavian style, the background is in a soft beige, a choice that enhances the softness of the pure New Zealand wool of which it is made. I...

Mid-17th Century Flemish Tourani Tapestry 2'9" x 7' - 84 x 213

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...

Pink opaque To fly away like a kite in the sky? Ain't that the fantasy. To have a piece of said fantasy in technicolor? This rug will fulfil that dream to...

Vintage Swedish Kilim Rug 5'5'' x 8'0".

Green opaque rug To fly away like a kite in the sky? Ain't that the fantasy. To have a piece of said fantasy in technicolor? This rug will fulfil that dream to your imagination - ...

Vintage French Art Deco Rug Size: 8'7" × 10'6" (261 × 320 cm) This vintage French Art Deco rug is a study in soft geometry and painterly restraint. Its broad field is washed in a pa...

Alice Crawley Bamboo Wool Rug is part of the design collaboration Alice Crawley x LAYERED. The rugs are made of 100% wool with a cut pile for a sharp and clean finish. The colors hav...

Garden, Jean Picart Le Doux Modern French Rug This rug is Signed with Bolduc on the back, Dimension 200x300 Rare and Very Beautiful wool rug with exotic foliage patterns Limited edi...

Wonderful original French mid-20th century modern rug, with beautiful abstract design and nice colors with pink, yellow, black, blue and green, entirely hand knotted with wool velvet...

Article: high pile rya rug Origin: Denmark Producer: Hojer Eksport Wilton, Denmark Description: this rug is a great example of 60s pop art interior. made in high quali...

In collaboration with renowned Scandinavian artist Evelina Kroon, Layered introduces a collection that explores the boundary between art and interior design. With references to tradi...

Mid-20th Century French Art Deco handmade wool rug Size: 6'0" x 7'0" (183 × 213 cm) Elegance offered by deco rugs cannot be found anywhere else. Inspired by the newest trends in inte...

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...

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...

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...

' Las Vegas or Heaven ' Irregular shape hand-tufted wool rug by RAG home A rug reminiscent of the colourful street that is Las Vegas' main strip, an interpretation of our abstract ideas of wanderlust and the heavenly neon lights that is synonymous with Sin City...

Only a very limited group of the carpets woven during the thirties at the Tianjin city looms are decorated by geometric patterns typical of the Art Deco period. Some of these rare pi...

An early 20th Century Northwest Persian Conversational Animal Pictorial Runner. Details rug no. j2802 size 2' 7" x 12' 5" (79 x 378 cm)

Made with hand-knotted wool in England circa 1880-1890, this 13x14 antique English Axminster rug is a rare and exciting new curation from Rug & Kilim’s European rug collection. On ...

Authentic French Savonnerie Bold Botanic handmade wool rug Size: 13'2" × 25'4" (401 × 772 cm) An exceptional example of late 19th century French Savonnerie Aubusson rugs, the cocoa f...

An antique English needlepoint carpet from the early 20th century. Measures: 9' 3" x 11' 9"

A French Aubusson verdure tapestry panel from the late 19th century, depicting a heron in front of a lake, surrounded by foliage and with a cottage in the distance, and presenting a ...

77610, vintage French Aubusson rug with Regal Romantic Rococo style. Flourishing in technique and trend from the middle of the 17th century...

A French Aubusson rustic tapestry from the late 17th century, with the turbulent sea at center, and other ships docked by the riverside cityscape in the left distance. Enclosed by a narrow monochromatic border. Wool with silk inlay. Measures: 10’1” H x 7’2” W This tapestry was probably woven after a design by the French painter Claude-Joseph Vernet (1714-1789), renowned for his Marines, or maybe by his student Charles Grenier de Lacroix also known as Lacroix de Marseille...

Very beautiful and fine Aubusson tapestry with a nice design of the royal court with knights, and very beautiful colors, entirely and finely handwoven with wool and silk, at the famo...

Antique Bessarabian Rugs / Kilims in both pile and tapestry weaving technique are some of the more beautiful carpets to have been produced in Europe. Many of the Bessarabian Kilims w...

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...

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...

Magnificent Authentic Antique French Aubusson Rare Brown 10x12 1870 Handwoven 10x12 C.1870 "This is a magnificent pre-1900 antique Napoleon III French Aubusson. It has a soft blue background and beautiful bold design"-Antique Rug Collection Size 10' x 12' Serial ID # 10734k Design French Aubusson Origin France Age Circa 1870 Category Antique Pattern Floral Material 100% Hand woven wool Foundation Material Cotton Color Brown, Black, Ivory, Pink, Red, Yellow, Green Quality Fine Condition Great Condition Consistent With Age and History, old restorations, Overall Magnificent Piece to Last for Generations History~ Carpet production in France almost came to a complete halt during the turmoil of the French Revolution. The revolutionaries felt that woven carpets were luxury items affordable only by the nobility. Existing carpets, especially those commissioned by Louis XIV for the Grande Galerie, were used by the Directoire for themselves, after cutting out any royal emblems...

Named after the Greek Goddesses of the Moon, SELENE is a tufted area rug, calling for interaction with its softness and warmth. The material choice...