Wool Wall Decorations

A monumental 19th Century grand-scale French framed tapestry panel depicting a provincial orchard harvest scene in the Aubusson style. The large framed panel measures over 9.5 feet h...

A beautifully detailed tapestry depicting an elegant romantic pastoral scene, rich in atmosphere and refinement. The composition features graceful figures set within an idyllic lands...

A Victorian petit point woolwork embroidery of a shepherd with his flock of sheep. He leans against a tree, with his dog by his side. One sheep has a crow on it's back. The piece is ...

Vintage hand crafted wool tapestry by (attr.) Maria Janowska for Cepelia, Poland. Beautifully designed and executed country scene with traditional houses and flowers. The entire tape...

very beautiful Aubusson style tapestry, with a design of a medieval tapestry That Tapestry has been created in about 1530 by B. Van Orley, creator of "Chasses de Maximilien" (acces...

Handwoven sheep wool mirrored tapestries with wall-mounting lathed aged bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using anc...

-Unique Piece -Manufactured by Atelier Tabard in Aubusson, France

-Edition 1/6 -Manufactured by Atelier Gisèle Glaudin-Brivet-Aubusson -Nadia Khodossievitch-Léger’s artistic path reflects a lifelong dialogue with the major avant-garde movements of...

Place this long and narrow antique tapestry in a staircase or in between two windows for a pop of color. Handwoven in Aubusson, France, circa 1860, this gorgeous verdure wall piece h...

No. 217 hand-knotted textile poster by Lyk Carpet Homage to the Bauhauswomen Dimensions: W 48 x L 58 cm. Materials: 100% tibetan highland-wool, new pure hand-combed and hand-spun woo...

Jaime Hayon & Nani Marquina 'Nani x Hayon' wall tapestry Hayon x Nani, size 120x130, comes with wall hanging solution made with fabric sleeves sewn to the top back of the rug...

This antique Art Nouveau tapestry, circa 1900, presents a lush verdure landscape filled with flowering foliage, woodland scenery, and elegant decorative borders inspired by classic A...

"Experience the timeless elegance of this exquisite French Aubusson style tapestry, capturing the essence of an 15th century tapestry with a design titled « bord de L’eau » (water's...

This beautiful tapestry is woven on a jacquard loom by skilled weavers, keeping alive the centuries old tradition of tapestry manufacturing from generation to generation. This tapest...

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...

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....

This tapestry is inspired from a fine example of a classical Verdure Tapestry, such as those woven in France, Brussels and Flanders during the 18th Century. Many Verdure Tapestries w...

1900 Antique French Tapestry Wool & Silk Game 7x7 Square 6'5" x 6'7" 196cm x 201cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- Thi...

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...

Very large tapestry made of different textiles (wool, cotton..) by the sapling designer Katie Perez. Very decorative piece resulting of the use of different techniques of embroidery....

Midcentury tapestry designed by Rene Fumeron (1921-2003) entitled "La Mousson". Limited edition, hand printed on wool, with the artist's initials R.F in the lower right corner with L...

"This antique French needlepoint tapestry features a central medallion surrounded by intricate floral motifs and scrolling details on a soft cream background with a rich red border. ...

Belgian Jacquard Tapestry – Aubusson / Flemish Style – Late 20th Century Beautiful vintage Belgian Jacquard tapestry, dating from the late 20th century, depicting a richly detailed ...

Limited Edition Andy Warhol Art rug by Ege Axminster "Marilyn in Blue 1964" Denmark circa late 20th Century Iconic image of Marilyn Monroe by Andy Warhol Woven in 100% wool yarn d...

Beautiful vintage French Aubusson style tapestry with a nice design of the nature with trees, vegetation and river, a water fountain with statues of angels. and further away, a house...

Mid 18th Century Scenic English Needlepoint ( 2'4" x 2'7" - 71 x 79 )

Two French wool handmade tapestries decorated with flowers in rose and blue on dark ground. France, circa 1900.

Scatter size Persian Kilim from the late 20th century with a lion on a striped field. can be used as a wall hanging too Measures: 3'2'' x 4'3''. This was originally belonging to a ...

An antique 18th century Flemish mythological tapestry, size 11'0 H x 12'6 W. This period European tapestry depicts the Greek God Apollo, who is the deity of the arts, poetry, crops, ...

Colourful vintage European Folk art wool wall rug featuring abstract bird pattern Polish or Swedish Size 32 x 21 inches 83 x 52 cm approx. Period 1950`s Condition; Good.

An extremely rare, Museum quality, early Elizabethan English needlework depicting the Story of Adam and Eve in the Garden of Eden. Finely worked in wool and silk in different types o...

Pretty vintage French Aubusson style tapestry with a nice design and light colours, woven in mechanical jacquard looms with cotton, wool and acrylic, ✨✨✨ "Experience the epitome of...

An antique 18th century French Felletin verdure landscape tapestry, size 8'10 H x 9'7 W. This handwoven antique wall hanging feat...

79397 Antique French Tapestry, 07'08 x 08'11. This exceptional handwoven wool tapestry transports you straight into the rarefied world of Renaissance pageantry—an era where nobility,...

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...

Antique American Hooked Rug. Size: 2'3" x 3'2". Multicolor Jewel Tones Antique 1930s Hooked Wool Floral American Rug, Circa Date: 1930s. This exceptional piece exemplifies the uniqu...

Mid-17th Century Flemish Tourani Tapestry 2'9" x 7' - 84 x 213 Antique Flemish Tapestry, Circa 1650 – 2'9" x 7' An exquisite 17th-century Flemish tapestry, handwoven in wool and si...

"Discover the timeless elegance of this exquisite vintage French tapestry representing a 17th Century view of the ancient port of Venice in Italy. In a busy quayside scene, local tra...

Modern tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 43 cm x 95 cm.

Early 18th Century French Tapestry ( 4'9" x 8'6" - 144 x 260 cm ) Portion of cartoon from La Musique - Designed by Francois Boucher. Beauvais, French Royal Tapestry Workshop under t...

French Greeney Tapestry by Aubusson Manufactury from 18th century Period: 18th century Style: Grenery Condition: Perfect condition Material: Wool & silk Width: 172 cm Height: 284 cm...

A fabulous 19th-century handwoven tapestry in an excellent condition. The scene of celebration among nature. A similar technique is used for making the tapestry as in Aubusson and Ne...

79072 Vintage Mother's Commerce Company Springtime Tapestry, 02'09 x 03'10. This enchanting handwoven wool tapestry by Mother's Commerce Company captures the serenity and ephemeral b...

- perfect original condition, bright colours - marked by manufacturer and designer jr

very beautiful Aubusson style tapestry, with a design of a medieval Rhenish tapestry (1480-1490) Basel (Switzerland), representing a royal court of France, the arms of France, with b...

French Art Deco tapestry France, circa 1970s Handwoven Signed: Bleynie.

This wall hanging is a one of a kind heirloom piece, inspired byFrank Lloyd Wright and the Prairie School architects, and Joseph Albers studies on colors. The entire process of cre...

Elegant French tapestry from the late 20th century or early 21th century, woven on the jacquard looms in the traditional 18th century Aubusson style, Elegant Vintage Floral Tapestry...

Catalan tapestry from the Sant Cugat movement, created in the 1960s. This three-dimensional tapestry is distinguished by its sculptural composition and its palette of autumnal hues....

In the Middle Ages, mock battles called tournaments or jousts became fashionable. They started as a means of training knights for battle and later became spectacular festivals, somet...

A striking example of American textile artistry, this mid-19th century blue and white Jacquard coverlet is dated 1847 and showcases rich patriotic and natural symbolism. The central field features repeating floral medallions, while the border is adorned with stylized trees and birds — a motif popular in folk art textile traditions. The corner block displays a bold American eagle flanked by stars, underscoring the patriotic spirit of the era. Woven entirely by hand using a Jacquard loom, this coverlet not only exemplifies exceptional craftsmanship but also the uniquely personal tradition of the time, where the names of recipients or makers were often woven into the lower corners of the textile. While this particular piece does not bear a legible name, it's clear date and iconic design elements speak to its authenticity and heritage. Dimensions: 80” x 82” Date of Manufacture: Mid 19th Century (1847) Place of Origin: United States Material: Wool, cotton Condition: Wear consistent with age and use The Persian Knot Gallery, SKU: 2225 19th century American coverlet, blue and white Jacquard coverlet, 1847 dated coverlet, eagle and stars coverlet, antique...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Artist: Patrice Allard Period: 20th century Style: Art Deco Condition: Perfect condition Material: Wool Width: 80 cm Height: 80 cm Depth: 2 cm Patrice Allard — Kinetic Tapestry, Sch...

Tapestry "The Jesters" by the Jacquard Manufactory, Paris, Circa 1980 - 143cm W x 117cm H - No. 1652 Period: 20th century Condition: Excellent Material: Wool Width: 143 cm Heigh...

Tibetan Tiger Rug Green Wool Gold Silk by Djoharian Collection, hand knotted in Nepal. This traditional Tiger rug design is typically found on antique...

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...

No. 1622 – Medieval tapestry from the Aubusson Manufacture, 19th century – 173 W × 203 H cm Artist / Manufacturer: Aubusson Manufacture Period: 19th century Style: Medieval Conditio...

A magnificent antique French tapestry with Rococo style, featuring a rare and elegant composition of floral elements, vases, animals, and birds, dating to circa 1920. It has very rar...

An exceptional handmade abstract modern tapestry, Modernist, Forme-Libre, Lyrical Abstraction, Hippie, made in thick wool hand woven forming beautiful and sensual patterns and relief...

Art Deco Wool Textile or Wall Hanging, Europe, 1930s. Original 1930s art deco textile trow / textile / wall hanging with a very distinct floral and geometrical art deco design. Grea...