Rugs and Carpets on Sale

Dieser Teppich ist handgetuftet in Premium Qualität. Die besten Materialen, wie hochwertige Neuseelandwolle und Tencel werden verarbeitet. Eine integrierte rutschfeste Unterlage sorg...

Beautiful Shirvan kilim with classical colors and dense workmanship: a rug that You can put everywhere, also resting on a larger modern rug (an idea !) - Its price is good for closi...

Champagne by RANKIN RUGS - traditionally handknotted in Bulgaria using 100% locally-sourced Bulgarian wool (~125,000 knots per sqm) All rugs are handknotted in a small family-run workshop in Bulgaria by Europe's last remaining artisans practising traditional handknotting. With only 30 women still practising this rare, ancient craft, each piece is made-to-order and is a unique 1-of-1 work of art. The artisans selected to produce these pieces are some of Europe’s most superior artisans, known for their skill and precision, and their distinguished heritage in weaving rugs for Europe's most high-profile and royal establishments. As an exclusive, state of the art piece, the rug is accompanied by a certificate of authenticity. Please bear in mind that images are for illustrative purposes only. Due to the handcrafted quality of the pieces, wool colours may vary slightly to the concept images. Depicting a trail of leftover confetti, Champagne is an exclusive, hand knotted, fine art rug. Provokingly colourful, the Champagne rug...

TAPIS Shaped #023 is an eclectic rug that brings back mid-century modern vibes mixed with Postmodern style. This rug is handmade using the hand-tufted technique from 100% botanical s...

TAPIS Essential #008 is a modern rug that brings back mid-century modern vibes mixed with Memphis style. With an irregular shape and neutral colors, the ochre and cream rug juxtaposes an organic shape and two oval circles, making this modern rug essential in contemporary interiors. Made of botanical silk, TAPIS Essential #008 irregular area rug...

Tapis Shaped #029 also known as Ray Rug is an avant-garde piece by HOMMÉS Studio x TAPIS Studio. Part of our Shaped Collection that is perfect for an irreverent interior look, from t...

This unique tribal cushion cover is a larger piece suited to a bed or a sofa. Woven with a one of a kind repeating tribal motif pattern in accents of brown, red, beige, orange and gr...

Exquisite mid-century Chinese Beijing rug, featuring a captivating design and vibrant colors. Hand-knotted with meticulous craftsmanship, this rug boasts a blue field adorned with st...

Amazing and gorgeous “Galaxy” model rug in bleu nuit, handmade for Roche Robois. Large in size, this piece is a trip to outer space thanks to the infinite luminous constellations th...

Nice mid century Chinese beijing rug with beautiful Chinese Art Deco design and nice colors with blue, entirely hand knotted with wool velvet on cotton foundation. ✨✨✨ "Experience t...

Rare antique Caucasian kilim Verneh, from my Private Collection. Beautiful original colors, in perfect condition. nr. 723.

This fine wool mat is the perfect front or back door accessory. Woven by hand with fine wool and cotton that has been dyed with organic vegetable dyeing techniques. The design features a simple beige background with a modern square stripe design. Our mats are handmade, woven not printed & are finished with a non-slip backing that keeps them in place to perform better than any other entrance mat made today. Suitable for both classic and contemporary home interiors. Both the colour palette and design are sure to uplift any small space. Excellent condition, ready for use in any home or office environment. Our team source only the finest interior accessories, with years of experience, let our team help you find the perfect accent pieces for your home interior. Our inventory includes a range of modern rugs, vintage rugs and antique rugs. With a huge range of colours and sizes available now. Small area rug...

Tapis Pastel #12 is a pastel rug that mixes mid-century modern vibes with Memphis Design style. The combination of muted hues adds brightness and comfort to any room. This pastel a...

Very beautiful and fine Aubusson tapestry with a nice design with bird in the nature , and beautiful colours, entirely and finely handwoven with wool and silk, at Aubusson workshops....

Beautiful 19th century Kashmir bayadir shawl with nice design and beautiful natural colors, entirely hand embroidered with wool and silk on wool foundation. ✨✨✨ "Experience the epit...

Wonderful antique Heriz rug with beautiful design and nice natural colours, some little lose on the edges but in the correct condition. Entirely hand knotted with wool on cotton foun...

Exquisite Beijing Chinese rug adorned with a captivating design and vibrant colors. Meticulously hand-knotted with wool velvet on a cotton foundation. The intricate pattern, featurin...

This new traditional kilim cushion cover is a handwoven piece constructed in the early 21st century. The design has been delicately woven by hand and features a symmetrical geometric...

Very beautiful and fine Aubusson tapestry with a nice design featuring people having a picnic by the river , and with beautiful colours, entirely and finely handwoven with wool and s...

This bold wool area rug has been woven with a symmetrical geometric diamond design with geometric motifs woven in the centre of each diamond. Woven with a beautiful colour palette in...

Very beautiful large mid century Chinese rug, entirely and very finely hand knotted with wool velvet on cotton foundation with pretty Chinese Art Deco design and beautiful colors, wi...

This elegant wool area rug is a modern Kilim woven with a contemporary stripe design with tribal motifs woven within the stripes. The contemporary colours and pattern in this piece make it the perfect accent rug for any modern space. Constructed with only the finest hand-spun wool and cotton that have been dyed with organic vegetable dyeing techniques that have been used for generations. Master weavers employ traditional techniques in the construction, creating highly durable carpets that are sure to last for decades if cared for correctly. This piece is in excellent condition, ready for use in any space. Our team source only the finest interior accessories, with years of experience, let our team help you find the perfect accent pieces for your home interior. Our inventory includes a range of modern rugs, vintage rugs and antique rugs. With a huge range of colours and sizes available now. Modern kilims area rug blue red Kilim rugs...

These Kilim runner rugs are fantastic examples of rugs woven in Turkey in the 1970s. The design features a layered repeating pattern woven on a cream background with accents of red, ...

Featuring a layered linear design woven with floral and geometric patterns in harmonious colorways including red, blue, pink and beige. Suitable for use in any doorway in your traditional or modern home. This semicircle entranceway doormat has been refurbished from a handmade vintage rug- cut from large area rugs to create these small doormats, with handwoven fringe detail. Handspun cotton and wool have been used in the construction of these mats, they are handwoven and so hard wearing perfect for use as a dust barrier in any doorway. Vintage Oriental rug door mat- handmade carpet refurbished rug mat- entrance mat...

This deep red wool rug was woven by hand with locally sourced materials in Afghanistan in the 1970s. The design features a hexagon medallion with intricately woven motifs and patterns and a highly decorative surround design and border. This elegant carpet area rug has been constructed with the finest locally sourced hand-spun wool and cotton. The rich colours and tones seen in this piece come from natural dyeing techniques that have been used for generations. The high-quality methods and ingredients employed by the master rug weavers are what makes this wool rug a unique work of art. Place this wool rug in any room for an instant uplift, easily styled as a bedroom, living room, dining room or kitchen rug. This piece is suitable for both Classic and contemporary home interior styles. Rustic carpet vintage...

Beautiful mid century Kashmir rug with nice floral design and beautiful colors, entirely hand knotted with wool and silk velvet on cotton foundation. ✨✨✨ ...

A repeating floral geometric pattern revealed in this piece is a simple yet beautiful Ziegler rug. Woven by hand in India in the 1990s, with a subtle colour palette including a brown-red background and beige-gold accents that make up the repeating design. The composition and colour palette in this piece make it suitable for any classic interior style. Suitable for use in any home or office environment. Constructed with only the best natural materials including hand-spun wool and cotton. The rich colours come from natural dyeing techniques that have been used for generations. Hand-knotted by master weavers this piece is hard wearing and sure to last for decades if cared for correctly. This piece is in great condition, ready for use in any home or office environment. The design and colour palette in this piece are sure to uplift any room. CHR304 266x350cm Traditional Area rug...

Handmade carpet antique rug with Traditional pattern and sombre colour-ways drench this high-quality rug, highly detailed Turkish area rug. Simple repeat geometric patterns have been...

Traditional Oriental runner rug, handwoven wool carpet runner. This elegant wool runner rug was woven by hand in the 1950s. The central design has been intricately woven with diamonds and motifs symmetrically placed on dark background in colors of orange, brown and red accents. This is then framed by a decorative border that encloses the sophisticated design. Constructed with fin organic materials including hand-spun wools and cotton which have been dyed with organic vegetable dyeing techniques. The skills used in the construction of this piece make it hardwearing and so perfect for any room. Easily style this piece with Classic and contemporary home styles. Suitable for use as a stairway runner rug, hallway runner or entranceway runner rug. Vintage rugs handmade wool carpet runner, blue Oriental runner...

Hand knotted. Beautiful pattern. The carpet is in an age-related condition. Partly traces of wear. Almost 200" inches. The images are part of the article description. On requ...

Article: High pile Rya rug Decade: 1960s Origin: Scandinavia Sweden Material: 100% cotton This rug is a great example of 1960s pop art interior. Ma...

An excellent example of handmade carpet Caucasian carpet oriental rug weaving from the Shirvan region. Though these ivory ground prayer patterned rugs may seem like from a distance, ...

Vintage Swedish flat-weave carpet “Korall” by Erik Lundberg for Vävaregården i Eringsboda, Sweden. Fields in beige, white, black, yellow and orange. Hand...

This elegant flat-weave runner rug is an excellent example of Caucasian Kilims from the 1950s. The design features a repeating all over pattern woven with accents of red, beige blue and green. The design and colour palette in this runner rug is sure to make the perfect accent accessory for any room. Constructed with fine hand-spun wool and cotton. Dyed with organic vegetable dyeing techniques used for generations. The colour and design of this fine Anatolian rug make it the perfect accent accessory for any home. Easily style this fine wool rug with your vintage or antique home interiors...

"Bredband, blågrön" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed in 2010 at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Berit Hå...

This new traditional kilim cushion cover is a handwoven piece constructed in the early 21st century. The design has been delicately woven by hand and features a symmetrical geometric...

Pretty late 19th century tabriz rug with nice Persian design and beautiful natural colors, entirely and finely hand knotted with wool velvet on cotton foundation. ✨✨✨ "Experience th...

This vintage Caucasian Kilim rug features a fantastic geometric design woven with a vibrant colour palette that includes rust orange, cream blue an...

"Forell, vinterstorm" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed in 2013 at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Eva Fo...

"Satellit, grå" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed in 2012 at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Monica Nilss...

Original huge Rya rug "Wave" Decade: 1970s Origin: Netherlands Producer: Prinstapijt Desso, Netherlands This rug is a great example of 1970s pop art in...

The handmade carpet modern Nepalese collection comprises fine hand-knotted carpets made in Nepal. Made with 100% wool pile, this innovative des...

This amazing and very decorative Midcentury Modern carpet in wonderful shades of burned orange, beige and different brown colours was design...

This fine vintage runner rug was woven by hand, with a traditional tribal medallion design that runs through the centre and a highly detailed geometric border. The central pattern sits on a goldfield and is decorated with red, orange, grey and cream accents that make up the intricate design. The border is woven in rich red tones with a geometric triangular pattern that draws the eye in. This stunning wool rug is suitable for both modern and traditional interiors. Handmade with the finest hand-spun wool and cotton, which was dyed using organic vegetable dyes. Intricate hand-knotted designs tell stories through design and colour. Suitable for use as a hallway, entranceway, or kitchen runner rug...

This Kazak red rug has a traditional border with two medallions. The central area of this tribal rug symbolises a garden of paradise protected by the 'walls' of geometric rug patterns. Traditional rugs would complement your home as floor rugs. These small rugs look beautiful and would stand out as hallway rugs or small bedroom rugs. These washable rugs...

Extra large rug with Panton style pattern. Decade: 1970s Oigin: Germany Producer: Reichel Carpets, Germany This rug is a great example of 1970s pop art...

This rölakan carpet / kelim rug ”Aniara” was designed by Anna Johanna Ångström during the 1960s. This excellent example with mainly different shades of blue and beige was woven in wo...

Royal Ozipek silk carpet/tapestry Hereke signed, 20th Century This hand-knotted Hereke rug is a magnificent addition to your living space. Once intended for imperial palaces, the de...

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 fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on a navy blue background with accents of cream green and ivory. Both the colour and desig...

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Berber rugs and carpets are mainly made in Morocco, Tunesia and Algeria. Largest producer are the tribal and nomadic Berber people of Morocco. Different areas produce very beautiful ...

This fine wool mat is the perfect front or back door accessory. Woven by hand with fine wool and cotton that has been dyed with organic vegetable dyeing techniques. The design features a simple beige background with a modern square stripe design. Our mats are handmade, woven, not printed & are finished with a non-slip backing that keeps them in place to perform better than any other entrance mat made today. Suitable for both classic and contemporary home interiors. The Subtle rustic colours make this a great piece for any room in your home. Our team source only the finest interior accessories, with years of experience, let our team help you find the perfect accent pieces for your home interior. Our inventory includes a range of modern rugs, vintage rugs and antique rugs. With a huge range of colours and sizes available now. Small Geometric rug...

This fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on an ivory blue background with cream green and ivory accents. This elegant piece's colou...