Continental Europe - Rugs and Carpets

Nice vintage French hand printed tapestry with beautiful medieval design and beautiful colors. Discover a stunning mid-20th-century tapestry, meticulously hand-printed on a cotton fo...

Beautiful late 19th century Moroccan rug from Rabat, with beautiful geometrical and tribal design and nice natural colours, with orange, red, navy blue, sky blue, green, yellow and w...

NDP42 woollen carpet by Nathalie Du Pasquier for Post Design collection/Memphis A woollen carpet handcrafted by different Nepalese artisans. Made in a limited edition of 36 signed...

A Tibetan tiger rug, hand knotted in Nepal. This traditional Tiger rug design is typically found on antique rugs called Khaden. It describes a small sized rug of about 3 x 6 ft that...

A beautiful vintage design carpet by ART LINE, hand knotted using finest Tibetan wool in 6.6 x 9.6 ft / 300 x 200 cm, Design after Pablo Picasso Cubism is a style in art history that developed from the avant-garde in painting in France around 1906. Well-known founders are Pablo Picasso and Georges Braque. This vintage rug is in excellent condition and a rare piece on the market. The feel is soft and cozy thanks to the use of the fine material. The rug is approx. 1/4-1/3 inch high. Cubistic design carpet hand knotted. Collection: Djoharian Design Colors: Orange, Beige, Blue Pile: Wool Size: 300 x 200 cm Fringe: Yes, on both sides Underfloor heating: Suitable Perfect for loft or Industrial modern rooms...

Very pretty antique french Aubusson style tapestry with beautiful design from the nature with an eagle. Woven on Jacquard loom with wool and cotton. ✨✨✨ "Experience the epitome of lu...

Carpet From The Savonnerie Manufactory, 20th Century, Circa 1940 - 353x217 Cm - No. 1588 Artist: Manufacture De La Savonnerie Period: 20th century Condition: Perfect condition Materi...

"Discover the timeless elegance of this exquisite vintage French tapestry featuring a captivating scene of pastoral love, showing a couple in countryside with the nature and a river ...

Dahlia Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and bamboo. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250 x ...

A Tibetan tiger rug, hand knotted in Nepal. Tibetan Tiger Rugs – Symbolism, Craftsmanship, and Customization Options Discover the timeless beauty and cultural significance of Tibetan Tiger Rugs. These exquisite handcrafted pieces are more than just decorative accents; they embody strength, protection, and spiritual symbolism rooted in Tibetan tradition. Traditionally, tiger motifs in Tibetan rugs are believed to ward off evil spirits and bring good fortune, making them a meaningful addition to any home or sacred space. At our company, we offer the unique opportunity to customize your Tibetan Tiger Rug according to your personal preferences. We can produce these stunning rugs in your desired size up to 20 x 16 ft, ensuring a perfect fit for your space. Whether you want a statement piece for a grand hall or a smaller accent for a cozy corner, we tailor each rug to your specifications. Material Choices for Your Tibetan Tiger Rug Select from a variety of luxurious materials to create a rug that matches your style and needs: Wool: Classic, durable, and soft, ideal for everyday use. Silk: Adds a shimmering elegance and intricate detail. Mohair: Known for its silky texture and resilience. Cashmere: Offers supreme softness and warmth. Alpaca: Lightweight, hypoallergenic, and incredibly plush. Bamboo Silk: Eco-friendly, with a smooth, lustrous finish. Our skilled artisans craft each Tibetan Tiger Rug with meticulous attention to detail, ensuring high-quality craftsmanship and vibrant, lasting colors. Why Choose Our Tibetan Tiger Rugs? Rich cultural symbolism and traditional craftsmanship Fully customizable in size and color to suit your space and style Made from premium materials for durability and luxury Sizes available up to 20 x 16 ft, for large-scale installations Bring a touch of Tibetan heritage and powerful symbolism into your home with a bespoke Tibetan Tiger Rug. Contact us today to discuss your custom design and material preferences! This traditional Tiger rug design is typically found on antique rugs called Khaden. It describes a small sized rug of about 3 x 6 ft that was used in Tibet to decorate columns or seat pad. Often these Khaden rugs had Lotus design or Tiger stripes. Many of them were made in a town called Kampa Dzong in Tibet, today in China. Tiger motifs are also found in antique Chinese rugs. Our collection of Tibetan Tiger rugs is made in different material combinations. The displayed rug is made of 100% Tibetan hand spun wool. Total pile height about 1/2-inch, Knot density 60 Tibetan knots per square inch. It has a beige background color and motifs in turquoise, pink, green, red and olive I have one at home using it as Yoga Mat...

Beige Moroccan Amazigh rug North African tribal design - Djoharian Collection. 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 works of art. This small sized beige ground Berber rug comes from Morocco, North Africa. This stunning piece of art was hand knotted with tribal designs and Bauhaus inspirations. The abstract design of these Berber rugs inspired many modern European artists who visited Moroccan in the first half of the 20th century. The condition of the rug is excellent and new. Origin: Morocco Size: 150 x 100 cm / 5 x 3.3 ft Pile material: fine hand-spun wool Structure: Soft and with a high, plush pile - soft wool Colors: beige pile and charcoal kilim...

Beautiful vintage French Aubusson style tapestry with a nice design . and with beautiful colours, entirely woven with wool And cotton on Jacquard looms ✨✨✨ "Experience the epitome o...

A Mid-Century Modern vintage handmade Swedish carpet in wool featuring a geometric pattern. This greenish colored Scandinavian rug is made and signed by MJ from 1950 and 1970 and thi...

Hand knotted "Sodad Low" 170, Florian Pretet and Lisa Mukhia Pretetv Made to Order Dimensions can be ordered Dimensions: 170 x 240 cm Materials: 85% wool 15% silk 100 knots/sq in Va...

Only a very limited group of the carpets woven during the thirties at the Tianjin city looms are decorated by geometric patterns typical of the Art Deco period. Some of these rare pi...

This unique Tibetan rug with a dragon design measures 133 × 62 cm and stands out for both its symbolic richness and distinctive shape. Shaped in an hourglass or saddle form, it likel...

- 1970s, Czechoslovakia - Multicolored - Nice and simple design - Very good and original condition - Bouclé.

The Beni Ouarain is a confederation of seventeen tribes inhabiting the high mountain region of the northeastern Middle Atlas, in northern Morocco. Their rugs differ from other Berber...

One of the main trajectories of French Modernism was dedicated towards a revival of a classical iconography. Motivated from a reaction towards the often rigid and austere mood of the...

Luxury Natural Shape Hand-Dyed European Sheepskin Large Art Rug by Carine Boxy Dimensions: 390 x 300 cm Materials: Naturally dyed sheepskin Size and color can be customized upon requ...

A collection that celebrates traditional Scandinavian women’s craftsmanship, inspired by Swedish folk traditions in a modern contemporary interpretation. With its patterns and techni...

Small Nudo rug by Sebastian Herkner Materials: 100% natural virgin wool. Technique: hand-woven in Colombia. Dimensions: W 160 x L 190 cm Available in co...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

The Zebra-Striped Printed Leather Black & White Rug takes inspiration from the appeal of the animalier style. A timeless pattern full of character will make this accessory the hero i...

Beautiful late 19th century Turkish ottoman embroidery with nice design and green field color, entirely hand embroidered with golden metal on silk foundation. ✨✨✨ "Experience the ep...

Very fine Turkish pure silk Hereke rug from the famous town of finest carpets. Hereke silk carpet / rug Turkey  3.0 x 2.2 ft 91 x 65 cm Rare fine...

Textural and chromatic dynamism maximize the decorative impact of this superb flower-shaped artisan rug. Part of an original Collection where art, fashion, and design seamlessly inte...

Art Deco Rug

Elegant and playful, the hand drawn lines in this composition create a unique and elegant carpet. An intriguing three-dimensional pattern originally designed by Gio Ponti to recreate...

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

The softness of the pure Pashmina wool and the skill of the work help us to identify this authentic antique Indian Kashmiri shawl measuring 177 × 173 cm...

This antique Persian Karajeh rug from the 1930s is a stunning example of traditional handwoven craftsmanship. Featuring a bold geometric design on a rich red field, this piece showca...

The beige counterpart to the Endless Rug in its blue variant, this refined rug offers a softer perspective of optical art, leaning on its textural appeal. Nepalese master craftsmen weft this piece of floor...

Very beautiful mid century original French Aubusson tapestry with nice romantic design and beautiful colors, entirely hand woven with wool a...

A vintage Swedish flat-weave wool rug by Alice Walleback dating back to 1960s with woven initials (AW) at a lower corner. Size: 6.5" × 10.3" (199 × 315 cm) It is in excellent origina...

This exquisite mid-century modern rya rug, crafted by a skilled Swedish textile artist in the 1960s, embodies the artistry and quality of Scandinavian design. Handmade from premium “...

Size 235 cm. x 170 cm. This abstract and vibrant rug design has a beige and black frame enclosing a richly colored central pattern. The central part features irregular shapes with sh...

Large Sottovento woollen carpet by Nathalie Du Pasquier for Post Design collection/Memphis A woollen carpet handcrafted by different Nepalese artisans. Made in a limited edition o...

Antique Turkish Yastik rug in original condition. Very unusual shape and beautiful design on the burgundy field. The repeating itself large red tribal ornaments as medallions coverin...

Wonderful modern design silk rug with beautiful abstract design and nice colors, entirely and finely hand knotted with silk velvet on cotton foundation.

"Experience the timeless elegance of this exquisite French Aubusson style tapestry, capturing the essence of a biblical episode, where Moses in his cradle is pulled from the waters o...

Beautiful vintage French Aubusson style tapestry with a nice design of Lauragais Landscape. Bring a little reminder of nature into your country decor with this Lauragais Landscape ta...

Designed by Nathalie Du Pasquier, who also signed each of the 36 pieces of this limited series, this carpet was entirely hand executed by expert artisans in Nepal: from the harvestin...

Large Tiger Rug Hand Knotted Djoharian Collection 8 x 11 ft Tibetan Design An Art Deco style tiger rug for dining room, living room, bedroom or office.. Size: 8.1 x 11.3 ft /247 x ...

- 1940s - Bouclé - perfect original condition. - professionally cleansed and whipstitched - minor damages jt.

Custom hand tufted rug based on the artwork “Composition”, painted by Wassily Kandinsky in 1944. Sustainable and certified fair-trade artisanal prod...

We offer for sale an item that holds charm in every knot and every embroidery that composes it. Coming from Southern Iraq, this item was born with the function of being a Wedding Bla...

The Noir Lima rug is a striking addition to our luxury LIMA collection, inspired by the mysterious allure of Peru’s desert at night. This piece captures the captivating contrast of ...

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...

This is a semi-antique Hereke silk and metal threaded rug woven in Turkey during the last quarter of the 20th century circa 1970-2000's and measures...

Handmade Vintage Chinese Silk Shawl: Design and Colors: This square-shaped shawl is a testament to Chinese craftsmanship. The dominant color is a rich black, creating a dramatic bac...

Beautiful seventies rug with orange/brown/beige colours from the seventies period. Lovely vintage decorative piece. Very good condition. 1970's - Belgium Good condition. Dimens...

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...

Mid-Century Modern Round Graphic Rug, 1970s

Hand Knotted "Ceramic" rug 170, Florian Pretet and Lisa Mukhia Pretet Made to order dimensions can be ordered, Dimensions: 240 x 170 cm Materials: 90% wool, 10% silk 100 knots/sq in Variations of color available. Please contact us. Evocative of one of the most ancient greek ceramics...

Italian production carpet "Paracchi" 1970s. The design inspired by the work "the kiss" by Gustav Klimt. Material: wool The dimensions are 182 cm. x 127 cm.

Handwoven Turkish prayer rug from the early 20th century, originating from the Anatolian region. Crafted in wool on wool foundation, the rug features a central mihrab design, traditi...

NDP50 woollen carpet by Nathalie Du Pasquier for Post Design collection/Memphis A woollen carpet handcrafted by different Nepalese artisans. Made in a limited edition of 36 signed...

This handmade vintage Persian Tabriz silk rug, crafted in the 1950s, features an elegant floral medallion design with intricate detailing and soft, lustrous artificial silk fibers. A...

Vintage European Savonnerie rug in original condition. This beautiful rug was made from the soft white wool. The beautiful tribal design on...