Wool Wall Decorations

Discover the elegance of modern French tapestry with the exquisite "Floride" (Florida) design by Jean Michel Lartigaud. This limited edition masterpiece, woven in vibrant shades of o...

Mid-Century Modern French wool tapestry by Jean Claude Duprez signed at the bottom right corner , "DUPREZ". This beautiful piece depicts birds and ...

Vintage Cubist-Inspired Tapestry by Robert Goodnough, USA, circa 1970s Vibrant tapestry by American artist Robert Goodnough (1917-2010), known for his exploration of Cubist-inspire...

Each tapestry is called Opus followed by its chronological roman numeral in the order they were created. Opus is a latin word meaning a work, used to mean a particular piece of music...

A Proto-Nazca textile fragment from Southern Peru circa 100BC-200AD. The linked munecas ("dolls" in Spanish) figures were woven with fibers likely from l...

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...

Hand woven wall hanging by Ontario artist Melanie Martin 1970 Raw fleece weaving contrasted with oval design in red and purple Original artists label intact

A Flemish tapestry of exceptional quality. It has retained great Color And the condition is remarkable with only minor restoration. it is Made of wool and it is hand woven. the des...

- Handspun and handwoven woo - 2025 - Edition of 20. This tapestry is the result of a collaboration between memòri studio and all the spinners and weavers from the Feija tribe loca...

In the 18th century style, village maidens and boys play blindman's buff in a clearing framed by leafy trees with flowers along a low ridge in the foreground and a rolling rustic lan...

1st Quarter of the 20th-century Tibetan rug with a large-scale dragon motif. The wool is soft, Texture and patina are fabulous. Can also make for a suitable wall hanging. Measure...

Handmade Vintage from the 1960s Materials: wool, cotton Sustainable, upcycled Turkish rug Christmas stocking made from hand-woven rug fragments. Width: 13 inches Height: 17 inches ...

Tapestry in “pure laine vierge” signed by Hervé Lelong Entitled “Heliotrope” Depicting a colorful flowers scene in the style of J.Lurcat Hand woven wool

- Handspun and handwoven wool, henna dye, oil paint, big size - 2022 - Unique piece - Framing by Laetitia Verchere - Edition of 10. Dimensions: 11.8 x 11.8 in // 30 x 30 cm.

Very pretty antique french Aubusson style tapestry with beautiful design from the nature with an eagle. Woven on Jacquard loom with wool and cotton. ✨✨✨ "Experience the epitome of lu...

Beautiful Aubusson style tapestry with nice design with a gallant scene and nice colors, mechanical Jaquar manufacturing with wool and cotton. Size: 100 x 140 cm.

Antique French Tapestry Verdure Birds Wool & Silk 1920 6x7 6' x 7'3" 221cm x 183cm "A magnificent antique French tapestry depicting birds amongst a verdure setting. Beautiful colo...

"Experience the timeless elegance of 'Scènes Galantes,' a stunning early 20th century French tapestry featuring a medieval design inspired by the 15th-century masterpiece from the Cl...

This exquisite 19th-century French tapestry, woven using a Jacquard loom, is a faithful reproduction of Panel II from the renowned Renaissance tapestry series, The Hunts of Maximilia...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Rare Antique French Tapestry Verdure Human Flirting Scene Beige after "Francois Boucher" 4'4" x 6'4" 132cm width x 193cm Height circa 1920 "This is an outstanding one-of-a-k...

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...

This framed hooked rug or mat was done by the well known George Edouard Tremblay of Quebec Canada in approximately 1940 in his period Folk Art style. The rug or mat is done with wool...

Signed Vintage Jean Picart Le Doux Tapestry with Tree Pictorial

This is a stunning tapestry by the well-known tapestry maker Jean Picart le Doux. It is signed on the bottom right hand side. The tapestry is named 'Homage a Paul Eluard...

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 charming French 19th century verdure-style tapestry depicting a lush, pastoral scene where spring flowers bloom, lambs graze in fields while their shepherd rests, and a sly fox wea...

This magnificent modern tapestry from the Aubusson Manufacture, having benefited from a deep cleaning and a careful verification and doubled by experts in our artisanal Workshop. It ...

A Flemish mythological tapestry from the late 17th or early 18th century, envisioning Odysseus and Penelope, in a scene from the culmination of The Odyssey. Measures: 11’0” H x 10’0”...

This macrame / knitted tapestry 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 slight v...

Large scale fiber wall sculpture by Margo Farrin O’Connor for Ted Morris & Associates, crafted in the 1970s. Composed of tonal bands of wool and jute in ivory, sand, rust, and ochre,...

An antique 18th century French Aubusson tapestry, size 8'10" H x 7'9" W. This fine, handwoven tapestry envisions a scene with Don Quixote and his squire, Sancho Panza, as he attends ...

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 French tapestry with a design of a museum tapestry from 15th century and nice colors, mechanical Jaquar manufacturing woven with wool.

Mid-19th Century Persian Bakshaish Rug hand-stitched on a fabric textile. Best to use on wall or as a throw piece Details rug no. r4808 size 3' 8" x 5' 2" (112 x 157 cm

a soft abrash red color late 19th Century, large-scale pattern Persian Bidjar Carpet Details rug no. j3900 size 9' 6" x 12' (290 x 366 cm

Woven Tapestry by Evelyn Ackerman, United States, c. 1960 Wool tapestry by celebrated American artist Evelyn Ackerman. Evelyn Ackerman contributed to the aesthetic sensibilities of ...

A 3rd quarter of the 20th century Persian Tabriz Rug with Moses holding the 10 commandments on a green background Details rug no. 8747 size 1' 10" x 2' 4" (56 x 71 cm)  

A 7 foot wide hand tufted and embroidered tapestry. Titled "Dream Entrance" the piece evokes the tapestry of the Northern Renaissance, updating it with soft blues and greens. The wor...

A French Aubusson mythological tapestry from the 17th century, depicting the Spartan king, Menelaus, seated at left, sending his brother...

Scandinavian Modern vintage handwoven wall tapestry by Barbro Nilsson, from Märta Måås Fjetterström workshop in Båstad, The name is "Green Twig", (Grön kvist). Monogramsign (BN). (46...

78236 Late 18th Century Antique French Aubusson Verdure Tapestry, 04'01 x 06'00. Bathed in the soft glow of Rococo refinement, this handwoven antique French Aubusson tapestry from th...

Nice modern Art Deco needlepoint French tapestry, with a beautiful cock and sun design. And beautiful colors with orange, yellow, purple, grey and black, entirely hand embroidered wi...

Very beautiful french tapestry with nice medieval museum design tapestry and beautiful colors, woven with mechanical Jaquar manufacturing with wool and cotton. ✨✨✨ "Experience the e...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Stunning needlepoint interpretation of Paul Gauguin's painting "Maternity" (three women on the seashore). This piece of needlework is wonderfully handc...

1960s wall hanging tapestry in the style of Joan Miro. Excellent condition.

This is a hand woven mid-century modern abstract tapestry or rug. It depicts free form nudes in the manner of early cubism. It has great colors in rich wools. Both sides are usable. ...

78447 Vintage Berber Moroccan Tribal Textile, 01'04 x 01'08. Emanating nomadic charm and steeped in ancient Berber history, this handwoven Moroccan fragment is a captivating vision o...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

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)

The embroidered appliques in fine silk and gold and silver threadwork with coloured glass, sequins and mirror simulating jewels in deep relief worked onto the original red velvet tex...

The softness of the pure Pashmina wool and the skill of the work help us to identify this authentic antique Indian Kashmiri shawl measuring 177 × 173 cm...

Early 18th-century abstract tapestry collage. Something I have never seen before. A 300 year old abstract tapestry made from fragments of potentially nine seperate works. To me, thi...

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...

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One of a kind vintage Bessarabian Kilim. Measures: 5.7 x 9.4 ft. A handwoven Eastern European Rug from Moldova. These traditional Moldovan flat-weaves are inspired from vintage Aubus...

AMBIANIC presents Vintage Hand-Woven Fish Tapestry Pair Set of 2 in wool 23.5 w x 38.75 red 25 x 38 Original vintage unrestored Refer to images

specialized in the Purchase, Sale, Traditional Cleaning, Restoration - Conservation, Expertise - Estimation of Old and also Contemporary Tapestries, Carpets, Kilims and Textiles. We ...

- Handwoven wool tapestry by Atelier 3, Paris. - Edition/6 - Project date: 1913 (from the Revolving Doors series) - Weaving date: c. 1975 - “The Meeting" is a part of tapestry series...