Spain - Tapestries

Jean Claude Bissery French Mid Century Modern Abstract Color Tapestry circa 1960 Manufactured in France. In original condition, with minor wear consistent of age and use, preservin...

Wall Tapestry – Geometric Composition from the 70s This wall tapestry, crafted in France around 1970 by an unknown artist, is an impressive textile work of art that stands out for i...

Transport yourself to a bygone era with our vintage cross-stitch sampler from the early 20th century. This timeless piece features a classic red-on-white design adorned with meticulo...

This framed tapestry, made in France by an unknown artist, beautifully represents Vincent van Gogh's iconic painting "The Bedroom." It is in original condition, with minor wear consi...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Le Corbusier Tapis La Main Ouverte For Cassina Inspired by Le Poème de l’Angle Droit, the art book published in only 250 exemplars that contains the vision of Le Corbusier on archit...

This stunning French tapestry, titled "Les Chevaux d’Azur," was created by Jean Claude Duprez for the Atelier d’Art Contemporain la Lice, under the direction of the acclaimed Jean Pi...

A stunning late 16th-century Flemish historical tapestry, possibly from Oudenaarde, woven with rich gold, blue, and green threads. The central field possibly depicts the story of Pom...

The Lady and the Unicorn. Tapestry. 20th century, following medieval models. Tapestry inspired by one of the series currently known as “The Lady and the Unicorn”, made up of six wor...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

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

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Mid Century Modern Colorful Tapestry, circa 1970 By unknown Artist In original condition, with minor wear consistent of age and use, preserv...

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...

Mid Century Modern Colorful Tapestry, circa 1970 By unknown Artist In original condition, with minor wear consistent of age and use, preserv...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

Wall Tapestry – Geometric Composition from the 70s This wall tapestry, created in France around 1970 by an unknown artist, is a textile work of art that stands out for its exception...

Mid Century Modern Colorful Tapestry, circa 1970 By unknown Artist In original condition, with minor wear consistent of age and use, preserv...

This exquisite piece titled "Psyche taking the bath" is a fine silk embroidery based on the original design by the artists Louis Laffite and Joseph Blondel for a French wallpaper. This artwork is a replica after original antique design. Painstakingly handcrafted with 25,000 shades of silk threads, this is the only original reproduction of this design, it took the craftsman 3 years to produce this level of work. The intricate details and delicate craftsmanship make this artwork a true masterpiece. It is a timeless piece that would elevate any art collection or home decor. History of Design There were originally 12 paintings depicting the story of Psyche based on Jean de La Fontaine's novel The Love of Cupid and Psyche (1669), which was itself inspired by the story of the Golden Donkey by the second-century Roman author Apuleius. This is one of the panoramic decorations. The original design was executed in a grisaille effect and 1,245 hand-printed wooden blocks were used to create the entire composition. It was originally produced by the famous French wallpaper company...

Exceptional master tapisserie from Brocard Museum Royal collection, brought directly from the estate of the Museum; Vente collection brocard 1998; P.D... Silver thread tapestry origi...

Handmade antique woven rattan wall planter. Made by unknown manufacturer in Spain, circa 1950. In original condition, with some visible sign...

Modern Design ! Neo Classique ! bohemian decor, macramé wall hangings should be at the top of your list. These lightweight, airy pieces are typically made with natural materials (thi...

"Don Quixote" Hand made silk embroidered tapestry in Art Deco style after famous artist Michael Verkholantzev, the academician of painting. H...

Karin Carlander, 2023 Green Shuttle Rug For Karakter Weaver and textile artist Karin Carlander interprets classic techniques as the backbone of her creative process. For the Shuttl...

Introduce a touch of artistic brilliance to your space with this framed color textile wall tapestry, inspired by the renowned artwork "Los Pichones" by Pablo Picasso. Created by an u...

Wall Decoration Silk Embroidered Tapestry Icon 'Mother of God with Baby Jesus in Her Arms' Introducing our exquisite silk tapestry 12 century icon replica, featuring fine silk embr...

Mathieu Matégot wool rug by Aubusson Made by the Aubusson manufacture Bold abstract design Signed Providence: Christie's auction house, circa 1950, France With restorations Go...

1980s Indian hand sewn patchwork tapestry.

This large format wall-hanging sculpture is handmade from 100% raw agave cotton thread, featuring naturally dyed thread details in various shades. It offers a contemporary reinterpre...

Iceland Sheepskin Wall Panel by Cuero Design Dimensions: W 30 x L 30 cm. Materials: Brown sheepskin. Available in different sheepskin color options. Prices may vary. Please contact ...

Wool tapestry depicting "The Blind Hen" from the cartoon by Jean Baptiste Huet - France - 19th century. XVIII

Cotton and wool tapestry - Ramses Wissa Wassef School with manufacturer's signature - Egypt - c. 1960

Large format wall-hanging sculpture handmade of 100% raw cotton thread that comes from agave plant. It has natural dyed thread details in blue shade. Its a ...

Wall Decoration Handmade Silk Embroidered Tapestry, Jesus Jesus after being taken down from the cross Add a touch of elegance and spiritual significance to your home decor with our...

1930s handmade tapestry representing an town scene. Part of a set of Tapestries that represent Egyptian life in the 1930s.   

Iceland Sheepskin Wall Panel by Cuero Design Dimensions: W 30 x L 30 cm. Materials: Natural white sheepskin. Available in different sheepskin color options. Prices may vary. Please ...

Immerse yourself in the enchanting beauty of our vintage cross-stitch sampler from the early 20th century. This singular piece boasts a classic red-on-white design with meticulously ...

Tribal 1920s Indian hand embroidered silk tapestry with ethnic geometric patterns, set on a wooden frame, ready to be hanged on a wall.

1930s Indian hand sewn patchwork tapestry.

Colorful Wall Tapestry – Geometric Composition from the 70s This vibrant wall tapestry, created in France around 1970 by an unknown artist, is a textile work of art featuring a geom...

Dive into the timeless allure of our vintage cross-stitch sampler from the early 20th century. This unique piece showcases a classic red-on-white design featuring meticulously crafte...

Fantastic collaboration of Javier Calleja and Mira Mikati, two of the most outstanding artists in the contemporary art and fashion scene, respectively. This wonderful scarf is a samp...

Transport yourself to a bygone era with our vintage cross-stitch sampler from the early 20th century. This timeless piece features a classic red-on-white design adorned with meticulo...

French tapestry from the 1940s or 1950s with a romantic scene, framed in a frame of all golden brown and with brown velvet, The tapestry is in very good condition, the frame has som...

*Only the mat, the frame is not included Typical decorative objects on the walls of many Spanish homes in the middle of the 20th century. Normally they were scenes of exotic animals...

Superb macramé wall tapestry, Spain, 1970s. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs representing a Catalan mountain landsc...

Early 20th Century Color French Tapestry By unknown manufacturer. From France In original condition, with wear consistent of age and use preserving a beautiful patina.

Tapestry Tribute to Joan Miró's 'Woman and Bird', circa 1960 Circa 1960 Handmade tapestry Inspired by Joan Miró's sculpture "Woman and Bird" Framed in black lacquered wood Dimension...

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

Karin Carlander, 2023 Green Shuttle Rug For Karakter Weaver and textile artist Karin Carlander interprets classic techniques as the backbone of her creative process. For the Shuttl...

Karin Carlander, 2023 Green Shuttle Rug For Karakter Weaver and textile artist Karin Carlander interprets classic techniques as the backbone of her creative process. For the Shuttl...

Karin Carlander, 2023 Green Shuttle Rug For Karakter Weaver and textile artist Karin Carlander interprets classic techniques as the backbone of her creative process. For the Shuttl...

Limited edition tapestry by the Spanish textile artist Grau Garriga, circa 1975. Artwork number 290/500. In original condition with minor wear cons...