Silk Wall Decorations

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...

Beautiful antique French embroidered tissue for church clothes , with nice colours, entirely hand embroidered with silk on silk foundation ...

Birds and flowers of the four seasons Early to mid-19th century Ink, pigment and gofun on silk Unidentified artist Signature: S...

78199 Rare Late 19th Century Antique Uzbek Shakhrisyabz Suzani Tapestry, 03'07 x 05'00. Behold the majestic splendor of this Early 19th Century Antique Uzbek Shakhrisyabz Suzani Tape...

authentic Ottoman Turkish hand-embroidered textile. This piece features the iconic Imperial Tughra (the Sultan’s calligraphic monogram) at its center, surrounded by a delicate arrang...

A late 16th century Flemish Historical Tapestry panel. This vertically oriented decorative tapestry panel depicts a female figure at bottom, sitting within an elaborate floral reserv...

Beautiful mid century European (probably french) needlepoint tapestry or rug, with a design of antique French savonnerie rugs in the style of Louis XVI (the 16th) and beautiful color...

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. Turkey Ready to go on a wall. Framed...

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 nice example of a Continental hand wrought tapestry decorated with putti or angels and cartouche, with foliate accents and subtle tan border with raised flowers. The tapestry has a...

Magnificent silk vintage Chinese Art Deco-magnificent jewel tones paired with an intricate,sophisticated design, showcasing exceptional artistry and refined craftsmanship. This piece...

Nice contemporary abstract design rug with beautiful colors, entirely hand knotted with wool and silk velvet on cotton foundation.

The primary motif of the embroideries is the paisley, a set of four 19th-century Suzani offers a unique blend of beauty, history, and craftsmanship. Their intricate paisley moti...

Large Scale Framed Italian Silk Embroidery Textile Panel, dating from the 18th century. The textile displays a finely balanced symmetrical design of scrolling acanthus vines and abundant blossoming flowers in soft tones of rose, blue, green, and gold on a neutral background. Each stitch reveals the exceptional craftsmanship typrical of Italian embroidery of the period, likely originating from a noble household or religious setting. The embroidery is bordered with its original fringe edge and preserved under a custom gilt frame, lending the piece both protection and an elegant presentation. This panel will be perfect as a statement piece in a hallway, dining room, or above a console. This framed antique...

Japanese contemporary two panel folding screen or "byobu" featuring genryoku style handcrafted raised silk kimono in yellow, black and gold on a cream color background. Tagasode is t...

19th century Uzbekistani hand spun linen Suzani with silk embroidered floral motif and silk ikat border. Reverse side has original antique Fine hand printed cotton backing.  

This is a lovely antique 19th century square French Aubusson tapestry depicting a on a beautiful spring day in the countryside with lush trees and vegetation with a woman on a swing and her husband and two children beside her. It is a lovely silk and wool tapestry with in the classic Rocco style...

A Pair of Framed Silk Embroidery Panels Anglo-Chinese, Early 20th century A refined pair of silk embroidery panels depicting birds in flight among flowering branches, executed in fi...

Remarkable pair of early 19th century Japanese late Edo period screens depicting summer chrysanthemums growing along a brushwood fence. Ink and...

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...

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 stunning 19th-century French decorative fan is a testament to exquisite craftsmanship and artistic elegance. The fan leaf is meticulously hand-painted on vellum or silk, featuri...

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...

An antique 18th century Flemish Biblical tapestry, size 8'3 H x 10'1 W. This period European tapestry depicts a climactic moment from the Biblical account of the Purim story, with Queen Esther...

English (20th century) ebonized framed memorial embroidery of flags and ships with photograph of a sailor in a life raft. Text embroidered at top, "Victory f...

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

Fine Japanese brush painting of cherry blossom festival, ink and color on silk, 19th century, museum conservation framed. Conservation framed i...

This exquisite vintage Pishwaa painting on silk features intricate artistry and vibrant colors that bring the scene to life. Depicting a traditional Indian landscape with graceful fi...

A striking and whimsical presentation of iconic Hermès design, this framed Chevaloscope silk scarf transforms a collectible textile into a vibrant work of art. Originally designed as...

16th Century Antique Flemish King Solomon Tapestry, Country Of Origin: Belgium, Circa Date: 16th Century. Size: 11 ft 4 in x 12 ft 10 in (3.45 m x 3.91 m)

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 Century. Uzbekistan Ready to go on a wall....

Charming 18th Century English Aubusson Tapestry, handwoven in wool and silk at the famous Mortlake workshop. It depicts a scene from the well known "Bacchanalia and Playing Boys" se...

Natural fiber art wall tapestry by Don Freedman, 1983. An exceptional large scale work, crafted of hand woven, jute, silk and cotton with a wooden hanging rod. Complete with copyrigh...

Decorate a wall or salon with this elegant antique hand-painted fan, crafted in France circa 1890. Presented in a refined half-moon shadowbox, the composition is set against a black ...

This is a vintage framed bird scene. A Japanese, silk cotton embroidery display, dating to the Art Deco period, circa 1940. Attractive Oriental ...

Discover the timeless elegance of this early 20th-century Aubusson or Flanders tapestry featuring a captivating design of a shepherd with sheep. This tapestry depicts a pastoral sce...

A vintage Mid-Century ivory color silk brocade collectable Japanese ceremonial kimono. One of a kind hand crafted. Fabulous museum quality ceremonial piece in pure silk with intricat...

A woman's court coat made from fine orange color silk with wide sleeves from Chinese Qing Dynasty (mid 19th century), mounted on linen canvas and presented on under a plexiglass shadow box with brass corner trims. This piece is part of the textile art collection of the former Xerox Corporate and still bears a metal tag that read "Xerox property no A2425". The semi-long Apricot color silk coat features elaborate embroidery work executed in superb workmanship. Perfectly symmetrical, the design follows the iconic Qing dynasty court tradition as an informal court coat. The bottom of the skirt is bordered with fine Li-Shui bands with rocks in the middle. Three large peony floral roundels form the focal points of the front. Two additional were placed on the shoulder (half visible). Numerous auspicious symbols were incorporated into the picture, including plum blossom, Chrysanthemum flower centered with Buddhism symbols, bats, butterflies, and magic mushrooms. The neck and skirt bands features archaic key motif, scrolling floral vines and Buddhist drums with ribbons. Examining the robe, one is struck by the fine workmanship. Long and short satin stiches were used widely. The peonies were created using forbidden knots (Peking Knote), one of the most challenging and time-consuming stiches in Qing textile. The robe carries a nice patina, reflecting in a mottled fading in the background that renders the piece a nice antique aurora...

Circa 1700 Lace Embroidered Picture. Worked in a variety of lace techniques. A central panel depicts a male head and shoulders. Geometric panels and bands surround the cental motif. ...

Japanese two-panel screen: Temples Through Misty Forest. Chinese School landscape ink painting on gilded silk by Yukimatsu Shunpo, signed and dated 1924. Yukimatsu Shunpo was born in...

Very beautiful and antique Chinese embroidery with beautiful design with birds, dogs, symbols and scriptures, and with nice natural colours with a red brown background, entirely hand...

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

Nice contemporary abstract design rug with beautiful colors, entirely hand knotted with wool and silk velvet on cotton foundation.

Antique Chinese Embroidery, Origin: China, Circa: Late 19th Century

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....

Certified Kimono Meister work / Certificate of Authenticity included [Story behind the work] This artwork is created from a hand-woven vintage Japanese obi. Individual sakura elemen...

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...

On mulberry paper with silk brocade. From the estate of Andrea Bollt. Artist's seal reads: Mitsushito (died 1922).

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.

Totally in love with this French silk embroidered cloth/throw, the colors are so beautiful, in very good condition seen its age .. on the wall, on th...

A lavish sari from India, hand-crafted out of a single piece of silk brocade. Mid 20th Century, circa 1970. Gold Paisley brocade on burgundy / deep red silk, with blue, green and gol...

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...

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...

78198 Rare Late 19th Century Antique Uzbek Nurata Suzani Tapestry, 03'06 x 05'01. Immerse yourself in the rarefied elegance of this Late 19th Century Antique Uzbek Nurata Suzani Tape...

A rare and elegant French tapestry dating to circa 1850, showcasing a sophisticated botanical composition accented by a graceful bird motif. Woven with exceptional finesse, this textile reflects the influence of 19th century French decorative arts and the era’s fascination with nature, depth, and tonal harmony. The tapestry’s layered foliage and subtle transitions of color create a painterly visual quality, enhanced by a restrained palette of ivory, rose, sage, and warm neutrals. Framed by an antique gold toned border, the piece maintains strong decorative presence while remaining refined and timeless. An excellent example of mid 19th century French textile...

Authentic work ◆ Shuson Kono ◆ Illustrated landscape of the literati ◆ Shared box ◆ Landscape ◆ Ehime Prefecture ◆ Handpainted ◆ Silk ◆ Hanging scrol...

A magnificent antique French tapestry depicting birds within a lush verdure setting, beautifully composed with intricate floral elements and scenic detail. This circa 1920 piece show...

Lovely American hand held fan; hand painted subject on silk with fancy mother of pearl sticks; each with silver sequins border trim. Done in the Victorian manner with the main subjec...

Edo period (c. 1800) screen, beautifully painted with excellent details. Kano School painting at its best. An exuberant Audobon landscape being observed by a cat and her kitten. A...

A celestial giant watching over, surrounded by symbols of orbit and time. Lunar King is a surreal celestial portrait. A central figure — part eye, part starburst, part crowned silh...