Wool Tapestries

Very Important & Great Tapestry Historical & Biblical by Brusseles Manufactury in 1680th Period: 17th century Condition: Excellent Material: Wool & Silk Width: 375 cm H...

"Discover the timeless elegance of this exquisite vintage French tapestry featuring a galant scene. Elevate your space with the charm of this beautifully crafted and woven tapestry,...

19th-Century Aubusson Verdure Tapestry, Depicting a Bucolic Landscape Period: 19th century Style: 18th-century Verdure Condition: Excellent condition Material: Wool & Silk Width...

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

Charming 18th Century English Aubusson Tapestry, handwoven in wool and silk at the famous Mortlake workshop. It depicts a scene from the well known "Bacchanalia and Playing Boys" se...

This antique French Aubusson tapestry features a vivid biblical depiction of Isaac, set within lush landscapes and executed in wool and silk. Its elegant coloration, craftsmanship, a...

Elevate your space with a charming French tapestry featuring a gallant village scene. Woven with precision on Jacquard looms in France, this masterpiece showcases couples by the rive...

Discover the timeless elegance of this large early 20th century French Aubusson tapestry featuring a captivating design inspired by the 18th-century verdure tapestries. This tapest...

77225 Antique French Aubusson Tapestry Inspired by Francois Boucher, 06'02 x 09'11. Nestled in the heart of Aubusson, France, French Aubusson tapestries have enchanted admirers since...

Very beautiful mid century Egyptian tapestry probably by Wissa Wassef school, with beautiful native design and beautiful colors, handwoven tapestry with wool on cotton foundation, fe...

"Pensé Blomlapp" (Pansy flower patch) created by Märta Måås-Fjetterström, is a beautifully handwoven flatweave tapestry from Sweden. Handwoven in wool, it has dimensions of H25.5 x W...

17th Century Jacobean crewelwork hanging Splendid Jacobean English crewelwork hanging of bold, stylised flowers and birds on meandering branches, bursting with scrolling leaves that...

Behold this exquisite French tapestry, meticulously crafted as a museum-tapestry design replica. This tapestry captures the essence of a renowned masterpiece, featuring a captivating...

This magnificent tapestry was woven in Flanders during the middle of the European Renaissance, in the late 1500s. At this time, Flanders was creating some of the best textiles in the world, and many of the rich wooded scenes with animals and hunting motifs began to appear. Tapestries subjects were thick forests and park lands, hunting scenes filled with deer, birds, exotic animals, and even mythological creatures. These were later referred to as Game Park tapestries...

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

- good original condition - labeled in back side.

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

53775 Late 19th Century Antique French Verdure Tapestry, 05'09 x 07'04. Woven with lyrical precision in the hallowed tapestry ateliers of Aubusson during the late 19th century, this ...

A KNITKNOT is a sculptural textile work made from knitted cord. Rather than using knots to construct a larger pattern, each work places the knots themselves at the center of the comp...

ANTIQUE GEORGE III SILK, SILVER THREAD NEEDLEWORK AND STUMPWORK EMBROIDERY A charming depiction of the baby Moses being discovered in the bullrushes by the Pharaoh’s daughter, all w...

Crocus tapestry by Marta Maas Fjetterstrom. A nice, and somewhat rare, size, and fully backed with linen and tabs for inserting a dowel rod. This design was made in many colorways, w...

Soft Neutral Vintage Artistic Hans Krondahl Flower Tapestry by Hans Krondahl, country of origin: America, Circa date: Vintage

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...

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This long and narrow tapestry was made to go between windows. The sand field displays a shield of arms surmounted by a count's coronet and supported by ...

An exceptional example of 19th-century American textile artistry, this signed four-color Jacquard coverlet originates from Dauphin County, Pennsylvania, and is dated 1859. Featuring a striking palette of navy blue, red, ivory, and pale green, the piece is intricately woven with fine detail and craftsmanship. The coverlet is inscribed “Michael Umbarger, Middle Paxton Township Da. Co. 1859 Amos Killinger,” honoring both the recipient and the weaver — a common yet meaningful tradition made possible by the Jacquard loom, which allowed personalization through the intricate weaving process. Woven by hand, this textile exemplifies the popularity and artistry of American coverlets in the mid-1800s, prized both for their functional warmth and decorative value. Whether draped over a bed, displayed as a wall hanging, or styled in a heritage-rich interior, this coverlet brings a unique narrative and historic charm to any refined setting. Perfect for collectors, designers, and decorators seeking rare and storied textiles to elevate traditional or eclectic interiors. Dimensions: 77” x 98” Date of Manufacture: Mid 19th Century (1859) Place of Origin: United States Material: Wool Condition: Wear consistent with age and use the Persian Knot Gallery, SKU: 2280 Four Color American Coverlet, Eagle and Stars Coverlet, 19th Century American Coverlets, American Coverlets, Jacquard American Coverlets, Hand Woven Coverlets, Pennsylvania Coverlets, Americana, American Folk Art, Antique American Textiles, 19th century American coverlet, antique Jacquard coverlet, Dauphin County coverlet, signed 1859 coverlet, vintage woven textile, historic American textile, Michael Umbarger coverlet, Amos Killinger weaver, navy red ivory green coverlet, antique Pennsylvania coverlet, collectible American folk art, handwoven antique blanket, traditional Jacquard loom, antique coverlet...

Beautiful vintage French Aubusson style tapestry with a nice design with shepherds in a romantic scene inside the countryside. and with beautiful colours, entirely woven with wool An...

This is an organic modern coastal marsh landscape by Don Freedman. It is tagged and dates to 1982. He was a highly regarded textile artist, and coastal scenes with grasses and birds ...

During Medieval times, scholars studied a specific set of curriculum known as the Seven Liberal Arts, which were designed to educate free citizens so they could make informed decisio...

Immense 17th Century Flemish wool verdure tapestry Flemish, 17th Century Height 323cm, width 424cm This very large and exquisite tapestry was crafted in wool in Flanders during the ...

Artist: Jean Lux (20th Century) Era: 20th Century Style: Design 50s-60s Condition: Perfect condition Material: Wool Width: 215 cm Height: 170 cm Depth: 0.5 cm Located a stone's thro...

This antique French Aubusson tapestry panel, circa 1900, features an elaborate Rococo cartouche framing lush floral arrangements in warm burgundy, rose, ivory, and mint tones. Its re...

Mid-Century Modern Wool Green, Red and Black Wall Hanging Tapestry from Finland, 1960s

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

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....

Antique Indian Handmade Paisley Textile Shawl in Red and Brilliant Border. 19th Century Antique Indian Hand made Paisley Textile Shawl with Brilliant...

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

Great hand woven tapestry in wool and according label made for one of the most important weavers in the studio,Fatma Awad , under direction of Sophie Habib Gorgi.

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

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

Mid-Century tapestry designed by Jean Lurcat and woven at Atelier Suzanne Goubely-Gatien in Aubusson, France. Hand woven in wool, it dates to the 1950s and entitled "Bahia La Rouge...

Discover the elegance of this mid-century Flanders jacquard tapestry featuring the exquisite design of the Arming and departure.tapestry. This tapestry was designed by Edward Burne-...

French Aubusson woven tapestry from the early 1700's depicting a lizard standing in luscious vegetation. Created in Aubusson, located in central France. Interestingly this vertical w...

73695 Imperial Harem Odalisque Renoir Reproduction Tapestry, 04'08 x 06'04. Evoking the opulence of 19th-century Orientalist art, this Imperial Harem Odalisque tapestry is a handwove...

This remarkable weaving, using yarns in shades of pale purple, burnt umber, ruddy brown and deep blue, is a masterpiece of post-war Egyptian artisanry. It depicts a crowd of birds in and around a stylized tree and was influenced by the work of the famed Ramses Wissa Wassef...

"Exquisite Aubusson-style mid century tapestry featuring a captivating design inspired by the 17th-century Flemish painter David Tenier. Titled 'Villagers' Celebration,' it beautiful...

Exquisite flamand tapestry from the mid-20th century, featuring a beautiful design of the renowned Belgium Painter Mary Dambiermont (1932–1983) she was a Belgian artist, known as a p...

This is a gorgeous and large antique Early 17th century Flemish Verdure landscape tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation...

No. 1611 - Tapestry, Jacquard Paris - Pastoral Scene - 2.15m x 1.24m This magnificent tapestry has undergone a thorough cleaning, hand-lined with 100% linen fabric, and meticulous i...

Fine Aubusson 1950’s Tapestry designed by Simon Chaye and woven by Atelier Legoueix in Aubusson France - labeled, numbered and titled on back. Artistic ...

Swedish wall hanging Sweden, circa mid-1940s Attributed to Märta Måås-Fjetterström, designed by Annie Frykholm. Pair with #22221 is also available. ...

19th Century Besserabian Flat-Weave Carpet ( 7'2" x 7'2" - 218 x 218 ) Antique Besserabian Ukraine Floral Flat Weave Rug, Country of Origin: Ukraine, Circa Date: 1890s. This excepti...

A French Aubusson rustic tapestry from the 18th century, envisioning a wooded landscape in which several youngsters play leapfrog. Enclosed within a scrolling border of fruiting and ...

Discover the elegance of this tribal Peruvian hand-woven tapestry featuring the exquisite tribal design ✨✨✨ "Experience the epitome of luxury and craftsmanship with our exquisite co...

Superb handmade tapestry of a large dimension, composed of 14 parts of different dimensions and weaving points revolved from 3 yarns and a fourth lower one. Representing a series of diverse tropical...

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

77769, vintage French Medieval tapestry, the Promenade tapestry. Drawing inspiration from a combination of Pieter van Aeist and French Medieval sty...

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

A handwoven, hand-dyed textile art piece designed and produced by British Weaver Pamela Print. Can be purchased as a single piece or as a full Triptych - see images and separate lis...

Tapestry from the Royal Aubusson Manufactory – 17th century, "Susanna and the Elders" - No. 1658 This magnificent tapestry has undergone a thorough cleaning, hand-lined with 100% li...