Tapestries

This Kimono Tapestry, carefully and painstakingly embroidered by Japanese craftsmen, is the only one of its kind in the world. We are proud to present this tapestry, embroidered wi...

Very beautiful late 19th century Aubusson tapestry with a beautiful design and colors, wool and silk woven on cotton foundation.

This very fine Oudenaarde tapestry is one in the series related to the mythological story of Ulysses. It was woven in the late 18th century using t...

Calman Shemi First Light at Dawn Tapestry, Signed 1990's. There is a slight water mark on upper right side. Calman Shemi uses a great mix of colors, textures and shapes. He also deve...

Journey into the heart of the Ottoman Empire's artistic legacy with our exquisite Suzani hand embroidery items. Each piece is a living canvas of tradition, meticulously crafted by sk...

Modern Design ! Neo Classique ! bohemian decor, macramé wall hangings should be at the top of your list. These lightweight, airy pieces are typically made with natural materials (thi...

Handwoven sheep wool tapestry with wall-mounting lathed bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using ancient weaving tec...

Handwoven sheep wool tapestry with wall-mounting lathed bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using ancient weaving tec...

Handwoven sheep wool tapestry with wall-mounting lathed bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using ancient weaving tec...

Handwoven sheep wool tapestry with wall-mounting lathed bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using ancient weaving tec...

Handwoven sheep wool tapestry with wall-mounting lathed bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using ancient weaving tec...

Handwoven sheep wool tapestry with wall-mounting lathed bronze bases, and stainless steel rod. Capturing the essence of the Andes, these pieces are created using ancient weaving tec...

This wall hanging is a one of a kind heirloom piece. Taking inspiration from brutalism, mid-century abstraction, and Joseph Albers studies on the interaction of color. The entire pr...

Nice vintage Kilim with beautiful geometrical design and nice colors, entirely hand woven with wool on cotton foundation.

This is a wonderful example of an antique French Verdure Tapestry from the late 17th/ early 18th Century depicting a serene countryside landscape on the banks of a river. The shape o...

Jacques Brachet is a French artist born in 1928 in Vitry-sur-Seine. A municipality about four kilometers south of Paris. He received his education at the applied art academy in Paris...

16th century Brussels tapestry The Story of David Brabant, 16th Century Monogram at the bottom left. 320 x 250 cm This splendid Brussels tapestry, crafted from wool and silk during ...

The tapestry entitled "Multicolor Fire" by Kennedy Bahia, made around 1960, is a captivating work. Measuring 95 x 65 cm, it is made of wool and has a bri...

Interflex Flou tapestry 'Tratteggio' by Enzo Mari produced 1991, Italy Dimensions 113.8" x 54.3" x1" Tratteggio This large wall hanging designed by Mari was produced in 1991 and is...

This is a gorgeous antique square 17th Century flemish Verdure landscape tapestry with two slight figures in a beautiful and rich summer scene of a countryside with lush trees and ve...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex figurative images on an enormous scale. This is an excellent example of 16th century Flemish Renaissance Tapestry...

Nice early 20th century French Aubusson tapestry with beautiful design of country scene and beautiful colors, entirely hand woven with wool an...

Large antique orange and yellow "Phulkari" embroidery textile. Floss silk threads on cotton. Ideal as a wall hanging or table cloth. Size: 40" W x 10...

Märta Måås-Fjetterström "Knopparna"/The Buds Small Handwoven Swedish Flatweave. MMF's exploration of the harlequin, with a diamond geometric pattern. Sage green, blacks, yellows, ...

Large Scale Vintage Tree of Life Textile Panel in Green and Purple Size: 50" W x 103" L From last etch of embroidery it is 44" Center seam in back...

Panton for Edward Fields custom Op-Art rug. [Signed Edward Fields Panton 23135] on Verso.

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 vintage Japanese silk Kuro Tomesode Kimono, circa 1960s-1980s. Kuro Tomesode is a dress for married woman for the most formal occasions, equivalent of the evening gowns in the west...

Large panel swatch Design 105 dating to Frank Lloyd Wright’s original 1955 collection for Schumacher. Extremely rare original large scale fabric, with surged edges to facilitate long...

Pretty Mid Century Turkish Kayseri rug with beautiful mihrab design and nice colors, entirely hand knotted with silk and cotton on cotton foundation. ✨✨✨ "Experience the epitome of ...

Mid 19th Century hand embroidered and hand crafted “Kashmiri Pieced Shawl” in “Butterfly” pattern in red, black, turquoise, and ivory Colors. This is an extremely rare shawl and is known as "Kashmiri Pieced Shawl" which is a hand embroidered and hand sewn piece to create the shawl. It is made of antique textile pieces that have carefully been sewed together to make a beautiful design. The Kashmiri shawls became an extremely fashionable item of clothing when Queen Victoria started wearing them. Most of the antique shawls known today are the “Paisley” shawls from the 1800s that used the concept and design of this original piece and were machine woven in the town of Paisley Scotland...

Knoll International, Francisca Reichardt, 1971. Textile, screen print on cotton. Design "Omahar". Measures: 49.5" wide x 63" (orientation depending) x 1.25" thick. One of the most ...

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

Beautiful vintage 17th century Aubusson style hand printed tapestry. With very beautiful design of hunt, medieval design, on cotton foundation. ✨✨✨ "Experience the epitome of luxury...

Discover the elegance of this mid-century French hand-printed tapestry featuring the exquisite design of the renowned medieval museum tapestry, "Les Vendanges" (grape harvest) from t...

Discover the elegance of this mid-century French hand-printed tapestry featuring the exquisite design of the left half (the pressing side) of the renowned medieval museum tapestry, "...

Discover the elegance of this mid-century French hand-printed, numbered tapestry featuring the exquisite design of the renowned medieval museum tapestry, "Les Vendanges" (grape harve...

"Discover the timeless elegance of 'Verdure au Moulin,' a beautiful French tapestry from the late 20th century. Crafted in cotton on Jacquard looms using Halluin stitching techniques...

“Chant de la vigne” or “vendanges au Château” "Introducing 'Vine Song' – “ grape harvest at the castle” a beautiful tapestry crafted on Jacquard looms using a blend of wool and cott...

“Exquisite tapestry from the late 20th century, crafted in cotton on Jacquard looms by Goblys workshops in France. This Aubusson-style Jacquard tapestry beautifully captures a scene ...

Immerse yourself in the enchanting beauty of our vintage cross-stitch sampler from the early 20th century. This singular piece boasts a classic red-on-white design with meticulously ...

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 s...

Discover the elegance of this mid-century French Aubusson style tapestry made with wool, by Jacquard looms at Jean LAURENT manufacturing in 1979, featuring the exquisite design of th...

Hermosa oleografía de La última cena. Varilla metálica original.. Envío UPS prioritario gratuito desde Italia, sin gastos de aduana. Tamaño pequeño poco frecuente. Añade otros 25 cm...

Marchande de Chapeaux (Hat Vendor) Discover the exquisite beauty of this authentic Aubusson tapestry, meticulously handwoven in the renowned Carthage workshops of Robert Four in Tun...

Vintage French Aubusson Tapestry Rug Art Nouveau Bold Square 9x9 8'5" x 9'4" 256cm x 285cm "A rare, magnificent vintage French Aubusson tapestry with unique Art Nouveau design, i...

In many places, poor sound quality is a common challenge. Allow me to introduce a solution that not only ensures excellent acoustic performance but also provides a visually appeali...

Royal Coat Of Arms Monarch "1942" Map of Great Britain Wool Work Folk Art Embroidery Map of Great Britain with Royal Coat of Arms and "1942" detail with various symbols in a wood f...

In many places, poor sound quality is a common challenge. Allow me to introduce a solution that not only ensures excellent acoustic performance but also provides a visually appealin...

A whimsical illustrative figurative densely woven hanging tapestry titled "Il Seraglio" by Danish artist Bjørn Wiinblad. Signature in the tapestry, bottom right. Handwoven in Portuga...

Georgian Sampler, 1815, Ann Smith Aged 9. The sampler is worked in silk threads on a linen ground, in a variety of stitches. Meandering strawberry border. Colours green, blue, red, y...

Beautiful new Kilim with geometrical modern design and light colors, entirely handwoven with wool on cotton foundation.

English embroidered needlework tapestry sampler picture signed by Rebecca Goodman and dates June 1860

Very beautiful mid century polish tapestry Kilim, with beautiful native design and nice colors, entirely hand woven with wool on cotton foundation. ✨✨...

Pair of vintage embroidered silk scenes based on Japanese woodblock prints. One shows a mountain landscape with figures, after a woodblock print of Inume Pass in Kai Province (Kōshū Inume tōge), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) by Katsushika Hokusai. The other appears to be Himeji (White Heron) Castle, viewed from below. Framed in matte black raised bevel frames. "Katsushika Hokusai (1760 - 1849) was active/lived in Japan. Katsushika Hokusai is known for Mountain scene painting...

Vintage framed piece of crewel needlepoint embroidery / cross stitch art depicting a sea otter and pup floating in a bed of seaweed. Design by Virginia Mi...

Tapis, Woman’s Ceremonial Skirt Paminggir people, Lampung, Sumatra, Indonesia Late 19th or early 20th century Silk, metallic thread, handspun cotton, natural dyes, embroidery 48 x 48...

Contemporary Flemish style tapestry, made in France, depicting a rustic creekside scene with foot bridge the background. The tapestry is in entitled La Foret De Clairmarias ( The ...