Fabric Tapestries

- perfect original condition, bright colours jr

"Iguana & Mrryh" is a one-of-a-kind wall-hanging statement piece as part of Kelly Kozma's newest collection "Watch Me Backflip". This large crafted piece is hand-sewn by the artist i...

A French Aubusson tapestry which is very likely part of a set from 'The Story of Telemachus' woven at Aubusson between 1776 and 1800 after engraved designs by various painters including Franc¸ois Boucher Antonio Tempesta and Charles Monnet...

Very pretty Tapestry 19th century Aubusson chinoiserie style with very pretty and freche colors ref. 1100.

Lovely Baroque Revival Mid Century Yardage from a high end upholsterer who carried a lot of Scalamandre textiles. On its original bolt, it is is marked 32-33 yards on end. Feels like...

Mechanical tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 150 x 110 cm.

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...

Rare and vintage Tunisian carpet, embroidered like a tissue for wall - Private Italian collection - IDEA: use this item as tapestry on the wall or on ...

Gorgeous handwoven silk Ikat weaving in rich magenta, gold and purple color, circa late 19th-early 20th century, Uzbekistan, Central Asia, on the ancient...

Very beautiful late 19th century French Aubusson tapestry with a nice design of a village, with nature, trees, birds, a river, chickens. a mill on the edge of the river, village hous...

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...

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...

18th Century Flanders Tapestry - The Swiss Guard, Pastoral Passage of the Pope - No. 1483 Period: 18th century Condition: Perfect condition Material: Wool & silk Width: 275 cm Height...

Celebrate the rich heritage of Asian craftsmanship with this exquisite 100% silk Suzani textile, meticulously hand-embroidered by skilled artisans. A true work of art, this piece emb...

Important wall tapestry,"Röd Crocus" by Ann-Mari Forsberg for Märta Måås-Fjetterström, 1960s.. Wool and linen on wool warp. Designed in 1945. Handwoven flatware tapestry at Märta Måå...

Wonderful antique French tapestry made of wool. Originally from the late 19th century. Just a beautiful hanging tapestry with a lot of details. Really well done. It is in good vinta...

In 1665, Louis XIV gave workshops in Aubusson (France) the royal charter, making them responsible for producing tapestries for the King and nobility. A beautiful example of such an Aubusson tapestry is our verdure bleue wall hanging that depicts four grape harvest...

"Experience the timeless elegance of this exquisite French Aubusson style tapestry, capturing the essence of a musical celebration amidst the countryside. Woven on a Jacquard loom wi...

Stroke by Sabine Marcelis The Stroke collection was really about creating a singular gesture as a rug. A simple brush stroke which highlights the extraordinary craftsmanship of woven...

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...

1960s, Rare, Oversized, Hand woven, Polish kilim wall tapestry created by iconic Polish textile artist, E. Keszycka. Both sides of the tapestry are hand finished with hand knotted ...

Large Art Deco/Modernist geometric Amsterdamse school tapestry. Netherlands 1925,, Mohair velvet has a shimmering quality which reacts to light.. Stunning !

French (19/20th Century) vertical woven tapestry of forest scene with creek and top and bottom border. Condition: (Antique Condition)

'Shapes' wall hanging 100% Organic cotton wall hanging quilts made in short runs by a small family run artisan studio in India. Made using GOTS certified fabric which is screen printed using AZO free water based non toxic...

"Au Petit Point" textile of the Royal Manufacture of Aubusson from the 19th century. Perfect state of conservation. Negotiable price Measures: 140 x 120 cm.

This modern, geometric tapestry has been ethically hand embroidered by artisans in Kashmir, India, using a traditional embroidery technique which is native to this region. The purchase of this handcrafted tapestry helps to support the artisans and preserve their craft. -Measures: 36" x 20" -Wool...

Very beautiful 20th century Aubusson tapestry with a design of tapestries from 18th or 18th centuries, with the nature and with trees with bird and the river, a country house behind,...

Rich in history and artistry, our Ottoman Pomegranate Motif Silk Hand-Embroidered Suzani Tapestry is a masterpiece of traditional craftsmanship. Inspired by the opulence of the Ottom...

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...

A beautiful Crewelwork Panel English and dating from 18th century The Oatmeal linen ground exquisitely embroidered with a delicate Tree of Life design Worked in fine wools. W...

Discover the elegance of this mid-century French Aubusson style tapestry made by silkscreen limited edition at Jules Pansu manufacturing , featuring the exquisite design of the reno...

Unique wall tapestry by Jean Leuenberger

Very beautiful late 19th century Aubusson tapestry originally made for covering the seat of an antique sofa with a beautiful floral design and nice natural colours, entirely and fine...

19th Century French Aubusson tapestry Portiere or door surround. Woven with floral foliage on a cream ground, bordered by trompe l'oeil swags and tassels. Hessian backed. Note: Our...

Rug, or tapestry, tribute to Jean-Michel Basquiat entitled « Melting Point of Ice » and dated 1984. Hand-knotted and in Merino wool. Can be installed on the floor or displayed on th...

Bit map throw blanket 03 by Luft Tanaka Studio A multicolored graphic throw blanket / wall tapestry woven out of 100 % cotton yarn based on digital pixel art created using an early bitmap drawing software from the 1980s and 1990s. Measures: 37" x 52" / 94cm x 132cm Please inquire if you're interested in other sizes: 50" x 60" / 127cm x 152cm 60" x 80" / 152cm x 203cm The Bit Map Series is based on digital “doodles” Luft makes using Kid...

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- This wo...

4' x 5'10. The Aubusson and Savonnerie French tapestry workshops continued producing extremely decorative and artistic works throughout the 20th century. This wholly abstract recent ...

A limited edition tapestry by Jean Lurçat entitled "La Table" signed in the lower right corner. Depicting a lush surrealist still life of a picnic table laden with lobster, fruiting ...

An English William Morris verdure tapestry from the turn of the 20th century, featuring several peacocks within a verdant setting of large leaves and floral sprays. Enclosed within a...

Artist: Jean Picart Le Doux Era: 20th century Style: Design 50s-60s Condition: Perfect condition Material: Wool - Hand made Width: 200 cm Height: 150 cm Depth: 0.5 cm Located a ston...

very beautiful French Aubusson style tapestry, with a design of a medieval tapestries. This tapestry has been made in the renowned “La Filandière” manufacturing Beautiful colours w...

A French tapestry from the end of the 17th century, incorporating verdure and rustic elements, with a romantic scene on the foreground of two young men pulling a young girl's swing. The scene takes place in a woodland environment, with trees in the foreground. Enclosed within a trompe l'oeil border, decorated with head flowers. Wool with silk inlay. Hanging: The tapestry comes ready for hanging, with linen backing and a strip of hook and loop tape at the top end, which can be connected to the opposite side of the supplied hook and loop tape, which could be tacked to your wall. For those who prefer the use of a tapestry rod, we can add the appropriate size loops to accommodate your needs. We now have a large selection of antique tapestry rods available as well, which we can provide detail upon request. Associated Words and Descriptions: accessory, antique, antiques, antique rug, antique carpet, antique tapestry, carpet, carpets, cleaning, classic oriental rugs, collectibles, collector items, collector piece, decor, decorative accessory, decorative item, decorative rug, decorator, design, designer, europe, european, farsh, fine, fine antique decorative rugs and carpets, floor covering, floral, geometric, ghali, hali, hand knotted, hand made, hand woven, home decor, home design, interior decor, interior decorator, interior design, interior designer, iran, iranian carpets...

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....

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

Cotton fabric screen print by Barbara Brenner attached to a wooden stretcher. Intair - Internationales Stoffdesign.

Very beautiful and decorative fine Isfahan rug with a nice floral with a beautiful central medallion design and beautiful colours with a navy blue, a live blue, green, red, brown and...

This is a gorgeous antique 17th century Flemish Verdure Tapestry depicting the noble children playing in the woods. The p...

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...

Fifties Aubusson large woven wool tapestry depicting fighting cockerels In the style of Jean Lurcat Circa 1950s Height 83cm. Width 145cm. Depth 2cm Aubusson tapestries were manuf...

Under the blanket project, Naomi Clark creates what she titles quilt paintings. She breathes new life into old wool and cotton camping blankets culled f...

Pretty 19th century French tapestry cardboard with a nice design of swing game featuring a young man standing pushing a young girl sitting on the swing. At a setting in the woods, be...

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...

Frank Lloyd Wright Schumacher Sheer textile panel, curtain or drapery. Extremely rare panel, large scale. Dana House fabric panel, #14730 (1955 / 1986) Measures: 4' 10" W x 7' 11" L.  

Rare Vivienne Westwood autumn/winter 1990 'Portrait collection' Brown viscose top printed with a silver neoclassical design inspired by the mirror...

The 17th Century Flemish Aubusson Tapestry portraying a woman traveling or walking with her child is a captivating depiction of everyday life...

Beautiful textile art square size vintage Art Deco French tapestry, country of origin / Type: French, circa date 1930's. Size: 5 ft 9 in x 6 f...

A stone's throw from the Eiffel Tower We are a family business specializing in the purchase, sale and rental of cars. expertise in old, modern and contemporary tapestries, rugs, kili...

Early Märta Måås-Fjetterström Tapestry Vintage Pine frame, Sweden 1930s Signed MMF. Woven by hand at Märta Måås-Fjetterström AB workshop, Båstad, Sweden. With is this tapestry, ...

A fine and rectangular tapestry woven in tan and rust tones with green. In the center is a forest landscape. Made of wool and silk.