Fabric Wall Decorations

A fun hand-stitched cross stitch sampler. Framed in a wooden frame, it is stitched with: "Antiques The only one interested in what your gra...

School of Largillierre, Portrait of a Lady of the Verheyden Family. The original frame is black lacquered wood with gilt insert. Nicolas de Largilliere (1656-1746), was born in Paris...

Derived from the Arabic 'khayam' (tent), the Egyptian khedival khayamiya are elaborately hand-stitched appliquè cotton hangings, woven in the golden period between 1867 and 1914. Wha...

Late 19th century French Tapestry Measures: 7'10" x 8'6".

Beautiful 18th century Spanish colonial oil on canvas painting of Saint Anthony with the infant Jesus. There are a few old repairs as shown on photos...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. India Ready to go on a wall. Framed...

HENRY SCOTT R.S.A. British, 1911-2005 "Down Easter 'Harvey Mills' in the Lower Inner Harbour, Boston, with Governors Island in the Distance Oil on canvas signed lower left titled...

This magnificent Tapestry has benefited from a deep cleaning and a careful check by our experts in our artisanal Workshop. It is now ready to adorn your interior. Artist: Elie Greko...

Nice embroidery panel with dragon design entirely hand embroidered with silk on silk Dragon designs are on relief.

Beautiful oil painting on canvas, made on the first canvas and framed with a contemporary rectangular frame in carved and gilded wood. The painting represents a striking image of the...

A vintage pull-down medical wall chart illustrating "Orthopedics of Foot" 1930s DDR signed Deutsches Hygiene Museum Dresden.

This beautiful poster was created in 1905, with artwork from German painter and illustrator Walter Thor. Promoting Peugeot Cycles in the Valentigney commune in Doubs, France, the artwork shows a woman cycling alongside her dogs ina wonderful scene. Cycles Peugeot...

Victorian Sampler, 1840, By Elizabeth Ann Fox. The sampler is worked in silk threads on a linen ground, mainly in cross stitch. Meandering strawberry border. Colours green, dark brow...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

This is a vintage framed decorative silkwork panel. A Japanese, embroidered silk cotton needlepoint scene, dating to the Art Deco period, circa 1930. A delightful display of traditio...

Painted canvas, or decorative panel, representing an Asian-style character. Contemporary work by French artists. Dimensions: H 160 x W 100 cm Reference: LS6342B675H Raw linen can...

This is a beautiful Aboriginal Jukurrpa (dreaming story) by P Andrea and Kathleen Nungarray Martin P. Both artist are a part of the Warlukurlangu Artists of...

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...

Otto Ackermann - Summerly High Mountain Landscape ca. 1920s An impressionist oil painting depicting a high mountain landscape with pine trees in front of the mountains. Oil painting...

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Antique Oil On Canvas Landscape “Summer” by Erna Lange C1930. 19 3/8" x 21 1/2" x 1 3/8". An oil on canvas landscape titled 'Summer' by Erna Lange, circa 1930. The painting ...

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Artist: "constellations" By Jean Picart Le Doux Era: 20th century Style: Design 50s-60s Condition: Perfect condition Material: Wool Width: 138 cm Height: 137 cm Depth: 0.5 cm Locate...

Beautiful 1970’s original oil on canvas painting by American listed artist Wade Reynolds. Title of the painting is “Youn Bride”. The painting depicts a young bride with meticulously...

This is a vintage panoramic tapestry. A French, needlepoint decorative panel with mahogany frame, dating to the early 20th century, circa 1930. Cl...

Hand-Embroidered 100% Cotton New Suzani Fabric Wall Hanging – Timeless Textile Art Experience the beauty of Central Asia craftsmanship with this exquisite hand-embroidered 100% cotto...

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Very beautiful 20th century Aubusson tapestry with a design of tapestries from 18th or 18th centuries, with the nature and with trees with bird and the river, a country house behind,...

1960s abstract modern painting original oil on canvas art. In the style of Francis Bacon. Dominant colors red and black. Unframed. Unsigned. 43.5 l x 29.75 x 1.75 Original unrestored...

J.G Domergue Galerie des Champs-Elysees Original Vintage Exhibition Poster This is an original exhibition poster by Jean-Gabriel Domergue, a French painter who specialised in portra...

An oil on canvas depicting European ships in a turbulent storm, signed bottom right. - Framed dimensions: 54 in x 37 in

city scape, oil on canvas, art, painting, landscape, wall art wall decoration

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Stroke by Sabine Marcelis The Stroke collection was really about creating a singular gesture as a rug. A simple brush stroke which highlights the extraordinary craftsmanship of woven...

Mapuche Poncho Mapuche People, Chile or Argentina First half of 20th century Wool, double-cloth technique, indigo dyed 59 x 63 inches (150 x 160 cm) With long fringes and of a pl...

Capture the Bustle of Paris: Jean Ribout's Oil on Canvas Painting This vibrant oil painting by Jean Ribout immerses you in the heart of Paris, France capturing the bustling energy a...

Antique fine quality - Qing Dynasty - forbidden or seed stitch silk embroidery panel - metallic and silk threads - densely packed embroidery on a light weight damask pattern silk - m...

Rare Antique French Tapestry handmade Verdure Tapestry 4' x 5' 122cm x 153cm Circa 1920 A magnificent antique French tapestry depicting a hunting scene amongst a verdure setting...

Emiel Hansen (Denmark) figures on a cloudy day original oil painting circa 1930 Brilliant 1930s original oil painting by listed artist Emiel Hansen. ...

Oil on Canvas by Maria Polo Signed MARIA POLO and dated 1968 Maria Polo (Venice, Italy, 1937 – Rio de Janeiro, Brazil, 1983). Painter, designer, engraver and vitralista. Studied at...

Knitted and woven textile made from com- bining high quality polypropelyne rope and parachute chord that is sculpted with epoxy to form a strong composite structure. Finished with a ...

Antique French Scenic and Tranquil Wall Tapestry probably made in the early 1900's. There are no signs of prior repairs, although there is the normal sun...

Christo "The Pont Neuf Wrapped 1 " mixed media with original fabric signed. Image dimension 69X101 cm with frame 71X103 cm hand signed by the artist with a piece of the original fabric glued. Good condition Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park.[1] Born in Bulgaria and Morocco, respectively, the pair met and married in Paris in the late 1950s. Originally working under Christo's name, they later credited their installations to both "Christo and Jeanne-Claude". Until his own death in 2020, Christo continued to plan and execute projects after Jeanne-Claude's death in 2009. Their work was typically large, visually impressive, and controversial, often taking years and sometimes decades of careful preparation – including technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. The pair refused grants, scholarships, donations or public money, instead financing the work via the sale of their own artwork. Christo and Jeanne-Claude described the myriad elements that brought the projects to fruition as integral to the artwork itself, and said their projects contained no deeper meaning than their immediate aesthetic impact; their purpose being simply for joy, beauty, and new ways of seeing the familiar. On September 22, 1985, a group of 300 professional workers completed the temporary work of art The Pont Neuf Wrapped. They had deployed 41,800 square meters (450,000 square feet) of woven polyamide fabric, silky in appearance and golden sandstone in color, covering: The sides and vaults of the twelve arches, without hindering river traffic. The parapets down to the ground. The sidewalks and curbs (pedestrians walked on the fabric). All the street lamps on both sides of the bridge. The vertical part of the embankment of the western tip of the Île de la Cité. The Esplanade of the Vert-Galant. The fabric was restrained by 13 kilometers (8 miles) of rope and secured by 12.1 tons of steel chains encircling the base of each tower, one meter (3.3 feet) underwater. The "Charpentiers de Paris" headed by Gérard Moulin, with French sub-contractors, were assisted by the USA engineers who have worked on Christo and Jeanne-Claude's previous projects, under the direction of Theodore Dougherty: Vahé Aprahamian, August L. Huber, James Fuller, John Thomson and Dimiter Zagoroff. Johannes Schaub, the project's director, had submitted the work method and detailed plans and received approval for the project from the authorities of the City of Paris, the Department of the Seine and the State. 600 monitors, in crews of 40, led by Simon Chaput...

Wonderful mid century polish tapestry with a native design of town and beautiful light colors, entirely hand woven with wool on cotton foundation Name...

Introducing our exquisite new suzani hand embroidered wall hanging, a captivating piece that combines ancient craftsmanship with modern artistry. This embroidered cloth is not just a...

Superb first-year-of-release country-of-origin French Grande film poster for La Femme et le Pantin featuring a wonderful design by Yves Thos. La...

Multidisciplinary artist Jean Bapiste Rigail best known for his mixed media works, he incorporates myriad techniques and materials to create his expressive, unique compositions. This...

A beautifully painted landscape scene with a Turkish Minaret . Oil on canvas in wood frame, unsigned. This painting has been re-lined and appears to have been reduced in size (pos...

Introducing our exquisite new suzani hand embroidered wall hanging, a captivating piece that combines ancient craftsmanship with modern artistry. This embroidered cloth is not just a...

Mother and Colt Horse painting. Signed and dated 1971.

Oil on Canvas by José Herrera (Spanish, 1943-). Signed and dated 1973. Original stainless steel frame. A beautiful piece.

Large canvas-backed poster by Robert Combas, signed and dated 1986, in six strips. Poster project for the association “La Porte Ouverte”, to be displayed in the Paris subway system. ...

This organic and beautiful two-tone hand-woven wool tapestry/ wall art hangs on a custom designed brass rod easily mountable to wall. THIS ITEM IS LOCATED AND WILL SHIP FROM OUR EAS...

Very fine large scale 19th century Italian school painting of a landscape scene with birds. So pretty and framed in a lovely gold...

1980s Maitland Smith Large Greyhounds Oil Painting after Maude Earl (English 1864-1943). The portrait showcases the two dogs posing on a country...

A massive Japanese embordered tapestry professionally displayed in a custom acrylic shadow box. The fine work of textile art is dated to 1890-1920s, late Meiji (1868-1912) or possibl...

Bennet Bradbury Seascapes showing an estuary joining the ocean. Bradbury was well known for his shoreline works. Large flocks of gulls in flight. Titled on reverse "Harris Beach Oreg...

This macrame wall hanging, "Equilibrium", is MADE TO ORDER. The time needed to create this design is 11-12 weeks. Because this fiber art tapestry is made to order, please allow some...