Silk Tapestries

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson tapestry in a fantastic large size- Thi...

Antique, 19th Century Ottoman block print. H 117 x W 117 cm

Period: 18th century - 1780 Condition: Perfect condition Material: Wool & Silk Width: 185cm Height: 85cm Depth: 1cm

76933 Vintage Persian Isfahan Prayer Rug, Islamic Art Wall Hanging Tapestry. This finely crafted Persian Isfahan prayer rug features an organically ...

Georgian Miniature Sampler, circa 1800, by Sophia Honey. The sampler is worked in silk threads on a linen ground, in cross stitch throughout. Silk border with bows. Colours green, go...

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...

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...

Intricately embroidered with 'turn of century' motifs in silk and velvet on golden yellow moire silk.

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...

Antique embroidered mirrored horse blanket throw used in India for the wedding ceremonies. Large antique embroidered panel with floral patter...

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...

A deux pas de la Tour Eiffel Nous sommes une entreprise familiale spécialisée dans l'achat, la vente et la location de voitures. expertise de tapisseries, tapis, kilims et textiles a...

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...

A Japanese Kesa (Monk's Vestment) made from thirteen columns of patchworks of shimmering woven brocades. The elaborate motifs feature repetitive hibiscus flowers within framework of ...

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...

A deux pas de la Tour Eiffel Nous sommes une entreprise familiale spécialisée dans l'achat, la vente et la location de voitures. expertise de tapisseries, tapis, kilims et textiles a...

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....

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...

Suzani tapestries are a type of embroidered textile that originated in Central Asia, and were popular throughout the Ottoman Empire. These decorative textiles were hand-crafted by sk...

A stunning Japanese embroidery tapestry circa 1880s-1900s from late Meiji period, presented with an original wood frame with inner gold trim. The tour-de-force embroidered tapestry s...

A Japanese formal Kimono made with a very fine black linen gauze augmented with applied modern circle pattern. The garment was hand-stitched and dated to circa 1930-50s. The black ga...

The Bible story of baby Moses drawn from the River Nile made with silkwork and chenille. Moses is gently taken from a basket made of reeds while his sister Miriam watches over him. ...

Suzani tapestries are a type of embroidered textile that originated in Central Asia, and were popular throughout the Ottoman Empire. These decorative textiles were hand-crafted by sk...

Kimono Tapestry "Seasonal Blessings" by Kimono-Couture ・Japanese Kimono Tapestry ・Textile Art ・Japanese Hanging Scroll 【Description of Kimono Art b...

Early 18th Century Antique Flemish Tapestry Fine Verdure Wool & Silk 9'9" x 12'7"(10x13) 297cm x 384cm Circa 1720 "This is a very fine Authentic Antique Flemish wool & silk Tapest...

1960's Hand Stitched Large Tapestry. This is a very decorative piece. Please look closely at the pictures as they tell the best story. Very good clean condition.

Cartouche at the top edge: Cybele, goddess of the earth, daughter of the sky, steals from Saturn their son Jupiter through Janus, God of peace. Border with double column frame and double cartridge surrounded by garlands of polychrome fruits and flowers. Note: Taken from an episode in the history of the High Gods: Cybele is a divinity of Phrygian origin, adopted first by the Greeks then by the Romans, personifying wild nature. She is presented as “Magna Mater”, Great Goddess, Mother Goddess or even Mother of the Gods. She is the wife of Saturn. Having heard a prophecy from Janus (Roman god of beginnings and endings, choices, passage and doors) predicting that one of his children would dethrone him, Saturn swallowed his children. Cybele notably succeeds in saving Jupiter, by replacing him with large stones...

A large and finely embroidered Japanese tapestry with brocade border, circa 1900s Meiji period. The tapestry depicts, in a rather realistic style, a forested landscape in autumn flan...

An 18th Century petit point silkwork embroidery of a lady seated next to a tree, in a country landscape. Goats, a dog and sheep in the foreground. A house in the background with a sm...

Mascarello experiments with materials and artistic techniques in order to translate into space both the potency and the fragility of manual gestures. Thanks to his extensive knowledg...

Mascarello experiments with materials and artistic techniques in order to translate into space both the potency and the fragility of manual gestures. Thanks to his extensive knowledg...

Since 1991, a stone's throw from the Eiffel Tower, we have been a family business specializing in the Purchase, Sale, Traditional Cleaning, Restoration - Conservation, Expertise - Es...

Mascarello experiments with materials and artistic techniques in order to translate into space both the potency and the fragility of manual gestures. Thanks to his extensive knowledg...

Mascarello experiments with materials and artistic techniques in order to translate into space both the potency and the fragility of manual gestures. Thanks to his extensive knowledg...

This tall Chinese silk embroidery depicts Asian figures and scenes of boats, bridges and Asian landscapes. Features red, green, salmon and whit...

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

Antique Darning Sampler, 1791, by Ann Manning. The sampler is worked in silk threads on a linen ground, in a variety of stitches. Comprises of 15 darning p...

A rare item to comedy, has some over all ware., some structural damages. No lining.

Close to the Eiffel Tower, We are a family business specialized in the purchase, sale and expertise of tapestries, carpets, kilims and textiles old, modern and contemporary. We work ...

A stunning Japanese Kesa (Monk's Vestment) made from thirteen columns of patchworks of shimmering woven brocades. The elaborate motifs feature repetitive...

Richly hand-embroidered vintage Uzbek suzani in iconic black and oranges. Sun burst flowers are ringed with black scrolls on natural cotton. Cotton embroidery in tight stitches give a lovely weight. Excellent condition, commensurate with age Perfect as a bedcover or as a bold and beautiful wall hanging.. Approximately 70 years old...

A fine landscape tapestry executed in wool and silk, depicting a leafy view over a river bank through large trees to a clearing beyond containing two castle vignettes. Dark blue/blac...

Discover the timeless elegance of our late 19th-century Kirman Termeh fragment—a masterpiece of hand-embroidered artistry. Adorned with a captivating floral design, this exquisite pi...

A finely embroidered Japanese silk Fukusa panel presented in a beautiful silk-lined giltwood frame (newly framed and glazed), circa late 19th century of Meiji Period. Fukusa is a tra...

A Japanese silk Fukusa Panel housed in a gilt frame circa late 19th century of Meiji Period. Fukusa is a traditional Japanese textile art used as a wrap for presenting gifts at important occasions. On the deep blue background, the elaborate embroidery work depicts a historical scene where street vendors selling goods to a royal household or an aristocratic residence. The scene focuses on the activities at the front gate where the couriers and servants were busying carrying the goods in. A peasant with straw coat...

A Japanese silk embroidery landscape scenery panel depicting a Buddhist pagoda and a temple compound set in a forest with towering pines and...

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 ...

Antique French IHS embroidered religious panel IHS - In His Service Religious French embroidery fragment from a church panel or vestment gown The base fabric is an off white c...

Naomi Clark paints abstract, vibrant, amoeba-like shapes in single solid colors on silk noil fabric to create Amoeba Curtains fabric. Sold by the yard (36" x 55"), these curtains can...

Antique embroidery got backed on linen first and then professionally framed. Ready to go on a wall.

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...

A visually striking vintage Uchikake Wedding Kimono/Robe for ceremonial occasion, circa 1930s-1950s in the Oriental Art Deco style. The bridal garment...

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...

A finely embroidered Japanese silk Fukusa panel presented in a beautiful silk-lined giltwood frame (newly framed and glazed), circa late 19th century of Meiji Period. Fukusa is a traditional Japanese textile art used to wrap and present gifts at important occasions. Depending on the occasion, the panel itself can be a very fine textile art on its own. On the deep blue background, this elaborate textile art depicts an old couple standing on a bridge with three bystanders, flanked by pine trees with hills afar. The couple is Jotomba (Joo and Uba are their respective names), characters in the Legend of Takasago, one of the oldest Japanese mythologies, who are associated with old pines. The legend goes as: "At Takasago Shrine there is a very old pine tree, the trunk of which is bifurcated; in it dwells the spirit of the Maiden of Takasago who was seen once by the son of Izanagi who fell in love and wedded her. Both lived to a very great age, dying at the same hour on the same day, and since then their spirits abide in the tree, but on moonlight nights they return to human shape to revisit the scene of their earthly felicity and pursue their work of gathering pine needles. His pine tree is called “The Pine of Suminoe” while hers is "Takasago pine". In Japan, Takasago couple...

Kimono Tapestry by Kimono-Couture Prepare to be enthralled by our exquisite kimono tapestry, meticulously crafted from a traditional kimono obi by skilled Japanese artisans. This one-of-a-kind tapestry embodies the essence of timeless artistry. The foundation of this kimono obi is crafted from silk, embellished with delicate strokes of gold leaf, creating a mesmerizing backdrop for the arabesque pattern. The arabesque, inspired by the ivy's vigorous growth in all directions, symbolizes vitality. In the Edo period (1600-1868), it was revered as a representation of longevity and prosperity, adding a touch of auspiciousness to this magnificent tapestry. Adorning the obi is an enchanting embroidered peacock, celebrated for its resplendent feathers. The peacock embodies qualities such as compassion, fertility, and good health. Its indomitable life force, evident in its ability to consume poisonous snakes and insects, grants it the power to ward off evil spirits and protect against misfortune and suffering. Surrounding the peacock, a tapestry of flowers...

78665 Antique Turkish Silk Hereke Prayer Rug, 03'05 x 05'03. ​Behold the enchanting tapestry of a bygone ear, woven with mastery annd imbued with a timeless allure. This hand knotted...

A Japanese silk Fukusa Panel housed in a gilt frame circa late 19th century of Meiji Period. Fukusa is a traditional Japanese textile art used as a wrap for presenting gifts at important occasions. On the deep blue background, the elaborate embroidery work depicts three deities of the Shichifukujin (Seven Gods of Fortune...

This is a wonderful rare Arts & Crafts framed textile Jacquard woven silk, wool and cotton It was woven by Alexander Morton & Co Circa 1900 Design...