Skip to main content

1990s Tapestries

19
to
3
13
6
19
19
19
3
2
2
717
653
1,617
1,149
300
806
403
44
5
66
47
32
106
155
151
62
Height
to
Width
to
17
5
4
2
2
13
5
3
3
2
2
1
1
1
1
Period: 1990s
Italy 1990 Post-Modern Set Two Black and Brown Upholstered Screens
Located in Brescia, IT
This stunning set of two black and brown screens are totally hand made in Italy, they were made in 1990 in Milano. They are an example of great craftsmans...
Category

Italian Post-Modern 1990s Tapestries

Materials

Fabric

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

Argentine Post-Modern 1990s Tapestries

Materials

Natural Fiber, Paint

1992 Modern Textile Woven Cranes & Grass Wall Hanging #418 by Don Freedman
Located in Topeka, KS
Wonderful Modern textile hand woven wall hanging #418 of cranes & grass by Don Freedman c/o Tree Time Inc. for Interlude. Comprised of a composition of jute, silk, wood, and cotton. ...
Category

Indian Modern 1990s Tapestries

Materials

Textile

AnnMari Forsberg handwoven tapestry "Bi i vit blomma"
Located in Båstad, SE
Handwoven tapestry depicting an abstract rose, designed by AnnMari Forsberg in 1959. "Bi i vit blomma" (Bee in white flower) is a detail from the larger tapestry "Bikupan" (the bee...
Category

Swedish Mid-Century Modern 1990s Tapestries

Materials

Wool, Linen

A pair of tapestries by Laura Holguin. 1990
Located in VILLERS-SUR-MER, FR
A pair of tapestries in natural materials installed in wooden boxes. Signature Laura Holguin 1990.
Category

European 1990s Tapestries

Materials

String, Raffia, Wood

Little Turkoman Susani Tapestry
Located in Alessandria, Piemonte
Unusual Little size for this embroidered Susani, elegant and suitable for wall tapestry - fine, simple, elegant - B/2411.
Category

Turkmen Other 1990s Tapestries

Materials

Silk, Cotton

1991 Raoul Duffy Hanging "Les Empreintes" for Flammarion 4 - Bianchini Ferier
Located in Saint-Ouen, FR
A rare wall silkscreen after an original sketch by Raoul Duffy, the panel on a white cotton background is silkscreened with stylized flowers, ranging in color from the deepest red to...
Category

French 1990s Tapestries

Materials

Cotton

Picasso Limited Edition Artist Rug/Wall hanging by Desso, Netherlands, 1996
Located in Buffalo, NY
Picasso limited edition artist rug or Wall hanging by Desso, Netherlands 1996 Based on the work of Pablo Picasso entitled "Le peintre et son...
Category

Dutch Folk Art 1990s Tapestries

Materials

Wool

A POST-MODERN AUBUSSON Tapestry by RICHARD RAPAICH, France 1990
Located in PARIS, FR
An exceptional Aubusson tapestry, Post-Modern, Forme-Libre, Lyrical Abstraction, hand-woven in wool, signed at the front with the monogram MH and signature Rapaich; a card on the bac...
Category

French Post-Modern 1990s Tapestries

Materials

Tapestry, Wool

Landscape, Tapestry, 1990s
Located in Roma, IT
Landscape is an original patchwork with fabric lining on the back of 1990s, by an oriental manufacture . Hooks for hanging. 102x150cm. Good conditions except for some stain...
Category

Asian 1990s Tapestries

Materials

Fabric

Aubusson Tapestry by Colette Bardin
Located in Miami, FL
"Exuberance" Amazing wool Aubusson tapestry, Paris by Colette Bardin. Beautiful original tapestry.  
Category

French Aubusson 1990s Tapestries

Materials

Tapestry, Wool

Acryl on Canvas, Noor Knip, 1990
Located in Amsterdam, NL
Colorful and playful painting by Noor Knip in acrylic on canvas, 1990. We are in love with the work of Noor Knip and are very pleased to see that so many ...
Category

Dutch Modern 1990s Tapestries

Materials

Canvas, Acrylic

Michel Seuphor "Les Jeux Sur L'Axe" Tapestry
Located in Waalwijk, NL
Michel Seuphor, Les Jeux Sur L'Axe tapestry, fabric, Belgium, 1992. These captivating tapestries of Belgian artist Michel Seuphor, known for his renowned work "Les Jeux Sur L'Axe."...
Category

Belgian Post-Modern 1990s Tapestries

Materials

Fabric

Polychrome Wall Hanging ‘Fragment’ Designed by Anita Ullerstam, Sweden, 1991
Located in Stockholm, SE
Wall hanging ‘Fragment’ designed by Anita Ullerstam, Sweden, 1991. Six pieces of fabric sewn together, polychrome printed and embroidered. Dime...
Category

Swedish Mid-Century Modern 1990s Tapestries

Materials

Textile

Vivienne Westwood Autumn/Winter, 1990 Portrait Collection
Located in New York, NY
Rare Vivienne Westwood autumn/winter 1990 'Portrait collection' Brown viscose top printed with a silver neoclassical design inspired by the mirror...
Category

English 1990s Tapestries

Materials

Fabric

712 - Oriental Printed Textil
Located in Paris, FR
712 - oriental printed textil.
Category

Central Asian Tribal 1990s Tapestries

Materials

Wool

Turkoman Patchwork Textile, Tapestry or Armchair Upholstery
Located in Alessandria, Piemonte
Nice Turkoman patchwork textile with light colors, suitable for tapestry, headboard, armchair upholstery. They are all embroideries applied on a rein...
Category

Turkmen Folk Art 1990s Tapestries

Materials

Cotton

Vivienne Westwood Autumn/Winter, 1990 Portrait Collection
Located in New York, NY
Rare Vivienne Westwood autumn/winter 1990 'Portrait collection' Brown viscose top printed with a silver neoclassical design inspired by the mirror...
Category

English 1990s Tapestries

Materials

Fabric

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

Italian Modern 1990s Tapestries

Materials

Cotton

Related Items
Antique Moroccan Moorish Silk Textile Tapestry Wall Hanging Hiti
Located in North Hollywood, CA
Antique Moroccan Moorish Silk Textile Tapestry Wall Hanging Hiti Ottoman voided silk velvet wall covering. Silk velvet cut designs, light browns, yellow, cream and blue, the panel consist on two arches with Islamic floral designs. Antique textiles from early 1900s. Each arch panel is 62" height X 26"5 wide Antique silk...
Category

Moroccan Moorish 1990s Tapestries

Materials

Silk

Mid-Century Style Tucuman Raw Cotton Tapestry
Located in Buenos Aires, AR
This dramatic wall hanging is an impressive statement piece for almost any room. Custom sizes and others colours available by request. Each piece is completely made to order and is ...
Category

Argentine Other 1990s Tapestries

Materials

Cotton, Linen, Silk

Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
Located in Madrid, ES
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...
Category

French Baroque Antique 1990s Tapestries

Materials

Silk, Wool

794 - Tapestry of the 20th Century
Located in Paris, FR
Tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 165 x 100 cm.
Category

French Art Deco Vintage 1990s Tapestries

Materials

Wool

794 - Tapestry of the 20th Century
794 - Tapestry of the 20th Century
Free Shipping
H 39.38 in W 64.97 in D 0.4 in
797 - Tapestry of the 20th Century
Located in Paris, FR
Mechanical Tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 150 x 7...
Category

French Art Deco Vintage 1990s Tapestries

Materials

Wool

797 - Tapestry of the 20th Century
797 - Tapestry of the 20th Century
Free Shipping
H 27.56 in W 59.06 in D 0.4 in
"BORO" / Japanese Old Cloth / Tapestry / Wall Decoration
Located in Sammu-shi, Chiba
We have a unique Japanese sense of beauty. We will also introduce unique items that only we can make, purchasing routes in Japan, experience gained so far, and methods that no one el...
Category

Japanese Showa 1990s Tapestries

Materials

Cotton, Linen

20th Century French Two Panel Screen
Located in Nashville, TN
Two panel folding screen with oil paintings depicting mythological male figures. Back of screen is upholstered in silk damask. Brass nailhead trim. Fabric hinges.
Category

French 1990s Tapestries

Materials

Silk, Damask

20th Century French Two Panel Screen
20th Century French Two Panel Screen
H 48.75 in W 51 in D 1 in
788 - Tapestry of the 20th Century
Located in Paris, FR
Tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 85 x 75 cm.
Category

French Art Deco Vintage 1990s Tapestries

Materials

Wool

788  - Tapestry of the 20th Century
788  - Tapestry of the 20th Century
Free Shipping
H 29.53 in W 33.47 in D 0.4 in
Tapestry of the 20th Century - N° 799
Located in Paris, FR
Tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 195 x 135 cm
Category

French Art Deco Vintage 1990s Tapestries

Materials

Wool

 Tapestry of the 20th Century - N° 799
 Tapestry of the 20th Century - N° 799
Free Shipping
H 53.15 in W 76.78 in D 0.4 in
"BORO" / Japanese Old Cloth / Tapestry / Wall Decoration
Located in Sammu-shi, Chiba
We have a unique Japanese sense of beauty. We will also introduce unique items that only we can make, purchasing routes in Japan, experience gained so far, and methods that no one el...
Category

Japanese Showa 1990s Tapestries

Materials

Cotton, Linen

Antique Afghan Turkoman Turkmen Torba Bag, Wall Hanging, Tribal Textile Tapestry
Located in Dallas, TX
77254, antique Afghan Turkoman Turkmen Torba bag, wall hanging, tribal textile tapestry. This hand knotted wool antique Afghan Turkmen Turkoman Torba st...
Category

Afghan Tribal 1990s Tapestries

Materials

Wool

Wool Textile Wall Hanging in the style of Joan Miro
Located in Kansas City, MO
1960s wall hanging tapestry in the style of Joan Miro. Excellent condition.
Category

Danish Mid-Century Modern Vintage 1990s Tapestries

Materials

Wool

Previously Available Items
Pablo Picasso Wall or floor Rug For Desso, limited numbered edition
Located in Zevenaar, NL
Tapestry in pure new wool "dame assise dans un fauteuil rouge", (painting) design Pablo Picasso 1932, executed by Desso Netherlands in a limited edition of 500 pieces, (28500) under ...
Category

Dutch Modern 1990s Tapestries

Materials

Wool

Contemporary Modern Calman Shemi Still Life Tapestry, circa 1990s
Located in Keego Harbor, MI
A Calman Shemi still life tapestry, circa 1990s. A lovely expressive piece from Argentinian artist Calman Shemi. Shemi is a life long artist who ha...
Category

1990s Tapestries

Materials

Tapestry

Vintage Modern Design Handwoven Textile Tapestry Wall Art with Figural Forms
Located in Barrington, IL
Vintage Handwoven Mid Century Modern Textile Tapestry Wall Art circa the late 1900s. The tapestry has various geometric and figural forms scattered throughout the field. The use of metallic weft and silk in brilliant colors gives a depth to the figures. The artist has used the texture of the silk and hand painted wrap to bring the design to life on a loom. The piece has a narrow cotton stripe hand stitched to the back for displaying the art on the wall. Dimensions: 3’ 8” x 3’ 8” Date of Manufacture: 4th Quarter of the 1900s Place of Origin: United States Material: Metallic weft and silk thread Condition: Excellent #Handwoven Textiles #Loom Art, Silk Tapestries #American Handcrafted Textile Arts #Large Wall Tapestry...
Category

American 1990s Tapestries

Materials

Metallic Thread

Medieval Square Tapestry
Located in Oakland Park, FL
Medieval Square tapestry. Size: 34"W x 30.5"H. Actual tapestry size: 29"W x 26.25"H. Ideal for upholstery.
Category

French Arts and Crafts 1990s Tapestries

Materials

Wool, Cotton

Medieval Square Tapestry
Medieval Square Tapestry
H 30.5 in W 34 in D 0.13 in
Enzo Mari Wall Hanging Tapestry Tratteggio, Italy, 1991
Located in Vienna, AT
Interflex Flou tapestry 'Tratteggio' by Enzo Mari produced 1991, Italy Dimensions 113.8" x 54.3" x1" Tratteggio This large wall hanging designed by Mari was produced in 1991 and is...
Category

Italian Modern 1990s Tapestries

Materials

Cotton

Enzo Mari Wall Hanging Tapestry Arazzo Segesta, Italy, 1991
Located in Vienna, AT
Interflex Flou tapestry by Enzo Mari produced 1991, Italy Dimensions 107" x 56.3" x1" This large wall hanging designed by Mari was produced in 1991 and is no longer in producti...
Category

Italian Modern 1990s Tapestries

Materials

Cotton

Pablo Picasso Le Coq Wool Carpet Limited Edition 1997
Located in Munich, DE
Artist rug after Pablo Picasso, motif ‘Le Coq’, by Desso, Germany, limited edition of 500. Made of pure wool reverse side with label. The rug is from an old storage and was never use...
Category

German Mid-Century Modern 1990s Tapestries

Materials

Wool

After Pablo Picasso Pure Wool Tapestry by Desso Limited Edition the Netherlands
Located in Boven Leeuwen, NL
This beautiful rug was made by the Dutch brand Desso under the license of succession of Pablo Picasso. Made in a limited edition this is 219 of 500. Name of the painting: Tête d’hom...
Category

Dutch Mid-Century Modern 1990s Tapestries

Materials

Wool

Simone Prouvé Large Wall Panel, 1996
By Simone Prouvé
Located in Lille, Hauts-de-France
A large wall panel, Réf. 010496, by Simone Prouvé Weaving in Clevyl and stainless steel bar with an abstract pattern Unique piece hand-made weaved, Fra...
Category

European 1990s Tapestries

Materials

Stainless Steel

Simone Prouvé Large Wall Panel, 1996
Simone Prouvé Large Wall Panel, 1996
H 91.74 in W 92.52 in D 0.79 in
Pled by Michelle Lopez 1997 Carmel Embossed Leather Abstract Artwork Tapestry
Located in Dayton, OH
"Pled by Michelle Lopez, 1997 Michelle Lopez (American b,1970) known for sculpture Features a peanut butter or Carmel leather with embossed detail and...
Category

Modern 1990s Tapestries

Materials

Leather

Vintage Oumar Bocoum Woven Wedding Hanging, Mali, 1990s
Located in Copenhagen K, DK
Oumar Bocoum Mali, 1990s Fulani weaver Oumar Bocoum from Segou is known to have learnt his distinctive style from an earlier master Abdurraham Bura Bo...
Category

Malian 1990s Tapestries

Materials

Textile

1990 Wool Tapestry
Located in Bois-Colombes, FR
1990s "Arnold Schwarzenegger" tapestry From a unique or very small edition Made with wool, France.   
Category

European 1990s Tapestries

Materials

Wool

1990 Wool Tapestry
1990 Wool Tapestry
H 63 in W 63 in D 0.4 in

Recently Viewed

View All