Silk Wall Decorations

[Authentic work] ◆ Kobayashi Sogetsu ◆ Spring scene ◆ Flowers and birds ◆ Gunma prefecture ◆ Hand-painted ◆ Silk◆ Hanging scroll ◆ Kobayashi Sogetsu [Art yearbook appraised value 75...

　Absolute Top Quality Print of this famous painting. Mid 20th century This is the autumn version of the Four Seasons Flowers and Birds series, an...

　[Raisho Nakajima] lived from 1796 to 1871, at the end of the Edo period and early Meiji period. A person from Otsu, Omi Province (Shiga Prefecture). His name is Ziqing. His names i...

Georgian Sampler, 1803, Jane Muncy Aged 9. The sampler is worked in silk threads on a linen ground, mainly in cross stitch. Meandering floral border. Colours gold, blue, green, coppe...

Woven on the Jacquard ribbon looms of the renowned Neyret brothers Rothers weavers House in st Etienne France . This antique woven Stevengraph is based on the painting 'LES RAMEAUX' (The palm Sunday) by French artist , Elisabeth Sonrel...

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,...

Marea Ivory Wall Tapestry by Antilla Di Lauro Dimensions: L 190 x H 250 cm. Materials: Fine bamboo silk and linen. Available in three different colors. Please contact us. Antilla D...

In 1665, Louis XIV gave workshops in Aubusson (France) the royal charter, making them responsible for producing tapestries for the King and nobility. A beautiful example of such an Aubusson tapestry is our verdure bleue wall hanging that depicts four grape harvest...

Spain, Circa 1750 Hand-painted silk Giltwood frame Devotional artwork A rare and exquisitely detailed 18th-century Spanish devotional panel, finely executed on silk and depicting ...

This is a vintage display panel. A Korean, silk cotton embroidery decorative scene, dating to the Art Deco period, circa 1930. Gaze upon a calming, tasteful example of Korean Art D...

The suzani fragment on the frame is from a 19th C. Suzani. It is hand backed on linen and streched over a strecher and finished with a wooden frame. Ready to go on any wall. The ite...

A woman's coat made of black silk with wide sleeves from Chinese late Qing Dynasty (mid to late 19th century), mounted and presented on blue linen board and framed as a stunning piec...

Hand-woven in Flanders (part of modern-day Belgium) during the 1700s, this wool and silk tapestry features a thick canopy of trees outside of a walled city. This style of weaving, kn...

[Authentic work] ◆ Komuro Suiun ◆ Persimmon bird ◆ Japanese painting ◆ Gunma Prefecture ◆ Hand-painted ◆ Paperback ◆ Hanging scroll Suiun Komuro Meiji 7 (1874) ~ 1945 Born in Tateb...

A stone's throw from the Eiffel Tower We are a family business specializing in the purchase, sale and expertise of old, modern and contemporary tapestries, rugs, kilims and textiles....

Wall Decoration Silk Embroidered Tapestry Icon 'Mother of God with Baby Jesus in Her Arms' Introducing our exquisite silk tapestry 12 century icon replica, featuring fine silk embr...

This work carefully and delicately depicts a Chrysanthemum ■Silk book, handwritten ■Condition 　　Lovely Condition ■Dimensions Axis size: 1840 mm (height) x 535 mm (width) Paper size...

Wall Decoration In Style of François Boucher Silk Handmade Embroidered Tapestry Add a touch of timeless elegance to your home decor with our exquisite tapestry inspired by the works ...

Rare and Fine Tapestry from the Manufacture Nationale de Beauvais, 19th Century Narcissus Gazing at Himself in the Water 210W x 180H cm Wool and Silk In keeping with tradition, this...

A pair of antique Altar Frontals Dating from 18th Century Gold silk ground brocaded with a Crown above Eight Point Stars , Cross, and stylized Pomegranates Lined in crimson silk ...

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...

Celebrate the rich heritage of Asian craftsmanship with this exquisite 100% silk Suzani textile, meticulously hand-embroidered by skilled artisans. A true work of art, this piece emb...

In the most technical sense of the word, "Suzani," in Central Asia and Iran, means needle and is used to describe this type of needlework, but to most people, such as decorators or c...

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. Bulgaria. Ready to go on a wall. Fra...

I love the vibrant colors! This is a set of large scale oil paintings hand done on silk by Chelsea House. They are Asian inspired with their birds on branches surrounded by fruit and...

Very beautiful late 19th century French Aubusson tapestry with a nice design in the garden, two women sitting and talking while a man plays music, with nice light colours with yello...

A THANGKA DEPICTING AMITAYUS, 18TH CENTURY Tibet. Distemper on cloth, with a silk brocade frame, mounted as a hanging scroll with wood handles. Finely painted with Amitayus seated i...

A fabulous vintage Boho Original oil painting on silk. A chic storied Indian Pishwaa in deep rich colors. A lot of extra goats for extra good luck! Acquired from a Palm Beach estate.

The 17th Century Flemish Aubusson Tapestry portraying a woman traveling or walking with her child is a captivating depiction of everyday life...

[Authentic work] ◆Tanomura Chokunyu ◆Ink painting landscape ◆Japanese painting ◆Handpainted ◆ Paper ◆ Hanging scroll ◆ Chokunyu Tanomura 1814 (Bunka 11) - 1907 (Meiji 40) [Art yearbook appraised value 8 million yen] "A child prodigy in painting, Tanomura Chokunyu originally modeled himself after the style of the famous Tanomura Chikuden (1777-1835), who had adopted him at the age of eight. After Chikuden's death, Chokunyu took up an intense study of imported Chinese paintings." Paul Berry in: Literati Modern, p.136.) - The certificate box was inscribed by Tajika Chikuson (1864-1922), one of Chokunyu's key disciples. Around 1840, he studied Confucianism under Kotake Shinozaki in Osaka, deepened his friendships with Heihachiro Oshio and Tessai Tomioka through sencha, and began to be recognized as a painter. Furthermore, in 1862, he founded and hosted the Seiwan Tea Ceremony (a sencha tea ceremony), which achieved great fame. In 1868, he moved to Kyoto and participated in the establishment of the Kyoto Prefectural Painting School (opened in 1880), serving as its principal and making efforts to foster the next generation.Furthermore, in 1996, he established the Japan Nanga Association with Tessai and others, and established the Japan Nanga Association, which was established in modern Japan. He made a great contribution to painting and the southern painting...

The following is a work of art depicting the ``Horai Landscape,'' a land of peach, created by the master artist [Rosetsu Nagasawa] A painter from the late Edo period. There are conf...

[ Authentic work] ◆ Kogyo Terasaki (Hiroyo Terasaki) ◆ Tie no Tsuki ◆ Toriya Hatayama Box ◆ Double box ◆ Handpainted ◆ Paperback ◆ Hanging scroll ◆ Kogyo Terasaki (Hiroyo Terasaki) ...

Suzani tapestries are a type of embroidered textile that originated in Central Asia, and were popular throughout the Ottoman Empire. These decorative textiles were hand-crafted by sk...

PIERRE ADRIEN CHABAL-DUSSURGEY (1819-1902) Designer - BEAUVAIS TAPESTRY MANUFACTORY Maker - Important Antique Louis XVI style floral tapestry chair back - the floral tapestry finely woven in wool and silk threads with garlands and swags and tassels - all centered by a powder blue ground cartouche with white roses within an oval frame - suitable for framing - France - circa 1855. Excellent antique condition - minor fading and loss - areas of wear/thinning - no apparent restoration - minor stains and soiling with signs of age and use. Size/Dimensions - 20" (51 cm.) Wide x 19 1/2" (49.5 cm.) High. PIERRE ADRIEN CHABAL-DUSSURGEY - born Pierre Adrien Chabal in 1819 in Charlieu and adopting the professional name of CHABAL-DUSSURGEY - well known for his paintings and studies of flowers in gouache and oils - attended the School of Fine Arts in Lyon - exhibited at the Paris and Lyon salons - he worked with the Gobelins Tapestry Manufactory and the Beauvais Tapestry Manufactory after 1849 designing tapestries, rugs and tapestry covers for seating - he designed tapestries for the Élysée Palace and worked with Empress Eugenie on furnishings for the small salon at the Élysée Palace and two salons in the palace of the Empress in Biarritz - tapestry covered furniture...

Early 20th Century Chinese Silk Embroidery ( 16'6" x 22' - 503 x 670 )

Large vintage green pink yellow blue silk scarf California America themes Beautiful and rare vintage silk scarf Very pretty, multicolored, joyou...

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...

A two-fold Japanese screen by the Rimpa school artist Sakai Hoitsu (1761-1828), Japan, 19th century, Edo period. This small Japanese folding screen pai...

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

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...

1982 Erte's 90th century birthday edition four framed silk scarves, signed in the weave. No's 1 and 2 have been sold. 3 and 4 are available.

Betty Woodman (American, 1930–2018). Silk chiffon textile with hand rolled edges. After the "Deco Lake Shore," 2002. The Metropolitan Museum of Art, New York, © Betty Woodman textile...

Playful Cat Hirose Toho (1875-1930) Hanging scroll, ink, mineral pigments and gofun on silk. Painting inscription: Toho Sha Painting seals: Upper - Hirose Hitoshi Lo...

Charming Japanese Showa period two-panel folding byobu screen featuring an embroidered silk picture of beautiful gift boxes. Stunning pattern of Hanaguruma (flower cart) laden with d...

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...

Enchanting Japanese Showa period six-panel byobu screen titled "Bamboo Forest-Immortal Together". The large screen depicts six manchurian cranes in a ...

Black/Green Handwoven Tapestry 300 by Calyah Unique piece Materials: Tibetan wool and silk. Dimensions: 300 x 200 x 1 cm Colour: black/green Also available in red/yellow, gold/orange, white/blue. A signature presence for the home or public spaces, the Versus Edition of bicolour wall tapestries features rich and evocative hues derived from the presiding colour palette in Kathmandu. Designed by award-winning artist and 2019 Danish Designer of the Year, Margrethe Odgaard, each piece is individually hand-woven from wool and silk by expert artisans in Nepal. Through colour, materiality, and a unique Tibetan weaving method, the Versus tapestries bring a warm emotional presence into space. With beautiful coloured combinations, the interplay between Tibetan wool and Chinese silk...

Wall Decoration Handmade Silk Embroidered Tapestry, Jesus Jesus after being taken down from the cross Add a touch of elegance and spiritual significance to your home decor with our...

This exquisite silk wall hanging tapestry brings a vibrant aviary to any interior. Woven from 100 % natural silk, the piece showcases multicolored songbirds—parrots, finches, and car...

Whimsical Japanese late Edo period two-panel screen circa 1800 by Yokoyama Kazan (Japanese 1784-1837). The screen depicts four of the seven Gods or deities ...

Detailed hand painted Chinese picture on silk, featuring two Chinese workers processing tea leaves, with a white blossom tree and mountain background. It has a bamboo surround frame,...

A Pair Of Chinese Embroidered Sleeve Panels. China, 19th Century, Qing Dynasty. Antique textile ff rectangular form, with a central seam, one decora...

18th Century Flanders Tapestry - The Swiss Guard, Pastoral Passage of the Pope - No. 1483 Period: 18th century Condition: Perfect condition Material: Wool & silk Width: 275 cm Height...

Regency Hot Air Balloon Sampler, 1828, by Mary Ann Paine Aged 7. The sampler is worked in silk threads on a linen ground, mainly in cross stitch. Meandering leafy border. Colours red...

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

A vintage Japanese formal silk Kimono in an "ink green" color with striking geometrical design. The garment is hand-stitched Meisen kimono from a crepe l...

A rare and visually striking framed antique European embroidered silk panel. Exquisitely hand-crafted in Continental Europe in the 19th ...

17th Century Monumental Tapestry/Gobelin Audience with the King in Antiquity Extremely beautiful antique Gobelein tapestry, France probably arou...

It has been hand backed on linen and stretched over a stretcher , and finished with the wooden frame. Ready to go on any Wall.

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

This beautiful pair of Suzani embroidery features intricate geometric and floral patterns, showcasing traditional Uzbek craftsmanship. The vibrant green and pink colors and tight si...

Provenance: Oudenaarde manufacture, Flanders, Mid-16th Century Tapestry wool and silk texture Dimensions 340/330 x 340/338cm Extremely rare piece In good condition Washed and lined It is a typical Flemish tapestry "with large leaves", well preserved, woven with green, yellow and brown yarns whose colors have remained fresh and intense. The market and collectors in recent decades have greatly re-evaluated tapestries with "large leaves", appreciating their high decorative value and ability to blend in with modern furnishings. Our tapestry belongs to a very particular subcategory of the "feuille de...

Professionally Framed Ikat Fragment, Uzbekistan, Early 20th C. It has been hand backed on linen and stretched over a stretcher , and finished with the wo...

This is a tall vintage decorative panel. A Chinese, framed silk cotton embroidered display, dating to the late 20th century, circa 1970. Attractive golden tones to this charming pa...

Unusual color for this vintage Uzbekistan Suzani, suitable as bedspread, wall decoration or table cover. There are little stains, but I'm asking less than its cost (I want to cl...

American sampler of silk floss on linen with a modest zig-zag border framing an uppercase letter alphabet, followed by a cursive alphabet, a lower case alphabet, and the numerals one...

This exquisite rare 18th-century Aubusson tapestry beautifully captures the refined elegance and pastoral charm associated with the Louis XV period. Masterfully woven, it depicts a r...

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

This tapestry has been cleaned, checked and doubled in our artisan workshop In the taste Nicolas Lancret Epoque: 19th century Condition: Perfect condition Material: Wool & Silk Width...

The suzani fragment on the frame is from a 19th C. Suzani. It is hand backed on linen and streched over a strecher and finished with a wooden frame. Ready to go on any wall. The ite...