Tapestries

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....

A large scale 18th Century tapestry featuring a lush forest scene with bird and tree motifs in soft green, brown, and taupe hues. It has a bronze toned border and beautiful time hono...

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

Located a stone's throw from the Eiffel Tower in Paris, we are a French family business specializing in the purchase, sale, expertise, cleaning, restoration and conservation of tapes...

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...

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

Beautiful vintage French Aubusson style tapestry with a nice design and with beautiful colours, woven with wool And cotton on Jacquard looms ✨✨✨ "Experience the epitome of luxury a...

3797 Folk Art wall decoration /tapestry Hand sewn with beaded sequins and glass balls on dyed cloth Mounted on acrylic panel with gilt wood frame(old piece mounted at later date) Ta...

Artist: Charles Marcel Jean Picart Le Doux Period: 20th century Style: Design 50s-60s Condition: Perfect condition Material: Tapestry Width: 143 cm Height: 113 cm Depth: 0.5 cm The ...

Presented is a patriotic “New York” silk and metallic thread embroidered souvenir, dating to the early 20th century. The souvenir is a glorious and intricate crafted depiction of the...

18th Century European Hand-Woven Aubusson Verdure Tapestry depicting a woodland nature scene. Made in France circa 18th Century. Finely woven with cloth backing.

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 Tapestry Signed By The Aubusson Factory, Circa 1860 - 278lx200h - No. 1474 This tapestry is a fine example of the 19th century Aubusson verdure. This type of tapestry is char...

A Original vintage South American weaving by the Dutch artist Jan Schreuder (1904 - 1964) Wool and cotton 96 x 100 cm 37 x 39 inches Circa 1957 ...

Vintage European Kilim flat woven rug Art Nouveau Tapestry 4' x 5'2" 135cm x 158cm "This is a beautiful Vintage European Rug tapestry. This mag...

Pair antique tapestries after David Teniers the Younger are designed to display side by side to create a continuous scene. The scene is a delig...

Artist: Jean Picart Le Doux Period: 20th century Style: Modern art Condition: Perfect condition Material: Wool Width: 500 cm Height: 200 cm A stone's throw from the Eiffel Tower We...

- Made in Czechoslovakia - Made of fabric - Good, original condition.

A beautiful extra large embroidered tapestry hand made in France. A very good looking and decorative piece in a wood frame. I believe this to be a period 19th century piece that woul...

18th Century Antique French Tapestry Verdure Wool & Silk 7x11ft 213cm x 323cm "This is very fine antique Flemish tapestry made of wool & silk depicting noblemen beneath a large verd...

Fine 17th century Baroque period silk and metallic thread embroidery panel. Excellent vibrant colors of bold burgundy, pale cream and beautiful, elegant teal with a border of textur...

This is an extra-large antique Indian Kashmir textile woven during the end of the 19th-century circle 1900 and measures 310 x 162 cm in size. This pie...

A modernist wool woven tapestry designed by French artist and designer Mathieu Mategot (1910-2001) circa 1960s. The piece is signed with Matégot and monogrammed TMP fino (Manufactur...

Hand-Embroidered 100% Cotton New Suzani Fabric Wall Hanging – Timeless Textile Art Experience the beauty of Central Asia craftsmanship with this exquisite hand-embroidered 100% cotto...

Beautiful artisan Suzani textile made of hand embroidery silk, of floral and vine motifs with circle of life ring. This Suzani is very special bec...

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

A small Mid Century decorative petit point wool tapestry in the style of Jean Picart Le Doux (1902-1982) entitled "Jardin de Soleils". RBC Tapisserie de Paris. Made in France. Staple...

Artful and exceptional handwoven wool tapestry or Gobelin called Wieze in polish, means Towers. Designed by Polish Artist Piotr Grabowski and handwoven by Szczakiel Elfryda in 1982 a...

Pretty vintage Aubusson style tapestry with beautiful gallant design at beach with beautiful colors, woven with wool and cotton with mechanical Jaquar manufacturing. ✨✨✨ "Experience...

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

Beautiful vintage French Aubusson style tapestry with a nice design of the women and men of the town near the river inside the wood. and with beautiful colours, entirely woven with w...

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...

Beautiful late 19th century French embroidery with silk, originally, seat cover element. Take a look at other Bobyrug items! , search by "Bobyrug" !

Very pretty mid century french Aubusson style tapestry with beautiful design from the painter « Francisco de Goya (1775-1792) for the royal manufactury of Tapestry » Tapestry crafte...

This tapestry has already been cleaned in our craft workshop The setting sun bathed the hills of Canaan in golden light, but in Jacob’s heart, darkness reigned. He sat bent, his eye...

Congolese Textile Tetela DR Congo 19th century Measures: 68 x 41 inches (172 x 104 cm) Provenance: Ambre-Congo gallery, Brussels $5,000. A very rare ...

An exceptional handmade signed modern Aubusson tapestry, Modernist, Forme-Libre, Lyrical Abstraction, made in thick wool hand woven, depicting an abstract yet floral, organic motif...

Framed wall tapestry made by Finnish artist Riitta-Maija Oksanen for Helmi Vuorelma OY. Jute, straw and wool used creating a minimalistic 3-dimensional ...

Late 19th century French religious embroidery, charity embroidery, entirely hand embroidered with metal on velvet. ✨✨✨ "Experience the epitome of...

Located a stone's throw from the Eiffel Tower in Paris, we are a French family business specializing in the purchase, sale, expertise, cleaning, restoration and conservation of tapes...

Nice little French needlepoint tapestry with beautiful floral design and nice natural colors, entirely hand embroidered with needlepoint method with wool. ✨✨✨ "Experience the epitom...

Embark on a journey through time with our antique cross-stitch sampler from the early 20th century. This captivating piece features a rich crimson-on-ivory design, showcasing finely ...

Discover the elegance of this mid-century French screen printed tapestry by hand featuring the exquisite design of the renowned medieval tapestry, "Rendez vous de chasse » ( hunting...

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...

Period: 17th century Style: High period-Renaissance-Louis XIII Condition: Perfect condition Material: Wool & Silk Width: 200 cm Height: 320 cm (possibility to modify the height in ou...

It comes from the Missoni archives this stunning pair of tapestries created by Ottavio and Rosita Missoni for the Maison. The tapestries were mounted on wooden frames with matte blac...

This tactile piece of hand-woven textile art is one of a collection of one-off plant-dyed pieces designed and produced by British Weaver Pamela Print. This piece is dyed by hand using natural and repurposed yarns and techniques such as Ikat and dip-dyeing using the natural dyes weld & fustic and over-dyed with indigo to achieve the shades of green. Handwoven on a dobby loom in Pamela's studio using a complex double cloth weaving technique and a combination of weave structures, including a 3D honeycomb, this unique framed artwork draws inspiration from the ethos and aesthetic of Indian Kantha & Japanese Boro textiles. One of a kind. Two similar designs - ‘Yellows Colour Study...

Jean LURÇAT (1892-1966) ‘Le Verseau or Aquarius’ from the series 'Les signes du Zodiaque' Hand woven wool Tapestry in Aubusson at Ateliers Picaud, 1960’s dimensions: 28 x38 inches ...

A Flemish Renaissance Biblical Tapestry 16th century In an open architectural setting, the central crowned and enthroned female figure flanked by three handmaidens, a fourth to the left urging a boy towards a kneeling woman on the right with an apple in her right hand, on the left a wooded landscape with a man walking in the distance, a man striking another over the head in the mid-ground, and a man, a woman, and a handmaiden approaching the scene in the foreground, on the right a man gesturing while others flee up a staircase and out of the scene, within a flower and fruit cluster surround punctuated along the top and bottom edges by balustrades and sphinxes, and along the sides by a figure, a mask, and a beaded and crowned man...

Flemish pastoral tapestry, mid-18th century, circa 1740. Two rustic milkmaids frame a gesticulating, fallen youth in a summery, vigorously rendered verdant landscape. Stylized trees ...

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...

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...

French mechanical tapestry with child's play design.

This exquisite Rölakan tapestry hails from the Skåne region of Sweden, dating back to the 1800s. It features stylized plant motifs in hues of white, ochre, black, burgundy, green, an...

19thc French Antique Louis Rococo style Floral Aubusson Tapestry. I found this beauty in Nice France. There is a small stain on border top left. Not detracting at all. Birds, trees p...

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 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...

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...