98 results for "gobelin"

French Vintage Tapestry Gallant Scene by JP Paris Panneaux Gobelins from the late 20th century. A beautiful French tapestry in Aubusson style, within a flower border featuring a gall...

This vintage French wall tapestry beautifully merges Renaissance-inspired imagery with the refined graphic style of the 1960s. Printed on thick woven cotton, it portrays a lively win...

1030 - Beautiful French Jaquar ( Gobelin )style tapestry, with nice romantic design and beautiful colors, mechanical Jaquar fabric with wool woven.

73692 New Gobelins Inspired Tapestry, 06'00 x 07'03. Steeped in regal grandeur and Louis XIV style, this handwoven wool Gobelins-inspired tapestry evokes the splendor and exclusivity of the French court at its zenith. Inspired by the iconic series The Months or Royal Residences, originally woven at the legendary Gobelins Workshop for the Sun King himself, this piece channels the vision of Charles Le Brun, the master artist whose designs defined the opulence of the French Baroque. To own such an exceptional tapestry is to partake in a lineage of privilege, artistry, and refinement once reserved for royalty and the aristocratic elite—a woven emblem of status and cultivated taste. The composition centers on the Château Neuf...

Beautiful French tapestry with nice design of the party in town, and beautiful colors, mechanical Jaquar manufacturing with wool and cotton. ✨✨✨ "Experience the epitome of luxury an...

French Vintage Tapestry Gallant Scene by JP Paris Panneaux Gobelins from the late 20th century. A beautiful French tapestry, wall hanging in Aubusson style, within a flower border fe...

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...

Set of 4 Renaissance Design Prints by H. Dolmetsch – Gobelins, Enamels, and More This stunning group of four antique prints captures the vibrant decorative arts of the Renaissance t...

Very Large Gobelin with Dancing Turkish Dervishes, circa 1900 A large Gobelin with Turkish dervishes dancing the sabre danc. It is framed in oakwood, Germany circa 1900. Please con...

This early 20th century French Gobelin-style tapestry depicts a lively hunting scene set within a richly detailed forest landscape. Handmade using needle-embroidered techniques, the ...

Bring color and pastoral charm to a hallway, bedroom, or stair landing with this pair of decorative French tapestry panels. Woven in Flanders circa 1980 in the Gobelins manner, each ...

This vintage French jacquard tapestry, probably crafted in the 1940s in the Aubusson style, showcases a richly detailed hunting scene. Woven in Halluin, a region renowned for its tex...

Mid-18th Century Antique French Aubusson Verdure Tapestry, Venus and Adonis Wall Hanging 13'09 x 09'05. A rare jewel from the heart of 18th-century France, this handwoven wool and silk Aubusson verdure tapestry offers more than aesthetic beauty—it is a portal to a bygone era of aristocratic grandeur and mythological reverence. Woven by master artisans whose skill and devotion were reserved for the noble elite, this extraordinary tapestry captures the romantic tragedy of Venus and Adonis in a style that pays homage to the great Italian Baroque painters—Francesco Albani...

73697 Francois Boucher Reproduction Rococo Tapestry, 04'00 x 06'00. Inspired by the poetic elegance of The Noble Pastoral Series (1755) by François Boucher, this handwoven wool tapestry captures the languid sophistication and soft sensuality of the Rococo era. The enchanting scene unfolds as an ode to idyllic romance — two youthful couples intertwined within a countryside dreamscape, where beauty and leisure reign supreme. Every precious thread pays homage to 18th-century France’s most celebrated painter of intimacy and grace, reimagining his vision for the discerning collector who seeks both heritage and refinement. At the heart of this pastoral reverie, a shepherd gently instructs his beloved shepherdess in the delicate art of the flute, their figures bathed in warm, honeyed light. Across the romantic scene, another young pair reclines amid moss and marble ruins, lost in music and affection. The exclusive masterpiece evokes the charm of French salon art — an era when love was theatrical, nature idealized, and every moment rendered a painting. Surrounding the figures, the landscape blossoms with meticulous artistry: roses, wildflowers, and verdant foliage cascade across the tapestry, framing the lovers in a world untouched by time. Rolling hills, distant towers, and the soft shimmer of water evoke a sense of pastoral poetry, where nature and romance harmonize in eternal spring. The Rococo border, rendered in shades of soft gold and ochre, adds a stately rhythm to the composition — an elegant frame for the symphony of color within. While newly woven, this exquisite work of art is an heirloom in spirit — a refined reproduction that revives the opulence of Versailles and the spirit of Boucher’s atelier. For today’s connoisseur, it offers the romance of 18th-century France without the fragility of age, bridging past and present through impeccable craftsmanship. Displayed in a grand salon, library, or private suite, The Pastoral Courtship transforms any interior into a sanctuary of poetic elegance and cultivated charm. Francois Boucher Reproduction Tapestry Noble Pastorale...

Exquisite French tapestry from the mid-20th century, featuring a beautiful design titled « Rendez-vous galant » ( Gallant meeting ) and nice colours, woven at renowned Jules Pansu wo...

79397 Antique French Tapestry, 07'08 x 08'11. This exceptional handwoven wool tapestry transports you straight into the rarefied world of Renaissance pageantry—an era where nobility,...

Mid Century Wall Tapestry with Birds, Animals and Foliage Belgium 1960s A wonderful mid century Belgian wall tapestry with birds. Great colors and design, with wonderful detailed de...

French landscape tapestry probably Beauvais, circa 1750. Although not a product of the Royal Gobelins factory in Paris, this pictorial landscape tapestry is extremely Fine with silk highlights. The French royal tapestry works in the Gobelins made masterpieces for the crown. For the nobility and bourgeoisie, Beauvais was the source for attractive wall hangings in all sizes, degrees of fineness and subject matters. Rural scenes particularly appealed to urban collectors. Here two white geese cavort under a sandy bluff. The hillock is framed on each side by trees, one a blasted trunk, and topped by a picturesque rustic windmill. Realistically depicted flowers, overhanging grasses and luxuriant foliage give a summer air to the image. In addition, a startled bird, flies up to the right. The border is a trompe l’oeil gilt picture frame with corner bosses and low relief “carving”. The weave is quite Fine and is executed in wool with copious silk details. Although Jean Pillement...

A very fine and large 19th century Louis XV style Whimsical Neoclassical Revival style Oil on Canvas "The Triumph of Flora" attributed to Ferdinand Wagner II (German, 1847-1927), school of François Boucher (French, 1703-1770). The impressive artwork depicting a semi-nude Flora hovering through the clouds surrounded by playful cupids, cherubs, love doves and a seated maiden, within white and grey clouds, offering her Spring flower bouquets and floral wreaths, within a banded giltwood frame. Note: Previously used as a ceiling painting. Unsigned, Circa 1870. Measures: Canvas height: 91 3/4 inches (233 cm) Canvas width: 59 inches (150 cm) Frame height: 61 3/8 inches (155.9 cm) Frame width: 93 1/2 inches (237.5 cm) Depth: 2 3/8 inches (6 cm) Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld...

The tapestry shown here is a magnificent example of 17th-century European artistry, likely influenced by the grand tradition of tapestry weaving that flourished in France and Flander...

A large French 19th century oil on canvas laid on board painting in the manner of François Boucher (French, 1703-1770). The oval framed canvas depicting a version of Boucher's "Venus...

This is a large, horizontal fragment of a late 17th century Beauvais tapestry. Beauvais tapestry manufacture was one of the most well-known tapestry workshops in France. Beauvais was...

Beautiful 18th Century Aubusson Tapestry. This tapestry was hand-made in central France in the valley of the Creuse. Aubusson Verdure tapestries originated from workshops set up betw...

A fine pair of French 18th-19th century whimsical rococo style chinoiserie oil on canvas, circle of Jean-Baptiste Pillement. (French, 1728-1808). One oil painting depicting an outdoor patio scene of a standing young mother, holding a fan, with her three young children playing with a horse-toy, a parrot and a cat, all surrounded by flowers, plants, trees, planters and flanked by a dragon fountain...

77024, this opulent antique Turkish silk and gold Hereke tapestry with flower of the seven mountains. Featuring a central medallion of cinnamon-red floating in a cut out medallion of...

La Tapisserie Gothique, par Manufacture Nationale des Gobelins, by E. Planès, Directeur de la Manufacture Nationale des Gobelins. Published by Albert Morancé...

74417 18th Century Antique Indian Medieval Wall Tapestry after the Battle of Karnal in 1739. This beautiful antique Indian painted tapestry is done on a canvas. It features a hunting battle scene with kings, kingsmen and royalty with multiple types of animals ranging from horses, elephants, lions, birds, peacocks and leopards. This tapestry is possibly in relation to The Battle of Karnal in 1739. The Muhammed Shah fought with Nader Shah...

PIERRE ADRIEN CHABAL-DUSSURGEY (1819-1902) Designer - BEAUVAIS TAPESTRY MANUFACTORY Maker - Important Antique Louis XVI style floral tapestry chair back - the floral tapestry finely woven in wool and silk threads with garlands and swags and tassels - all centered by a powder blue ground cartouche with white roses within an oval frame - suitable for framing - France - circa 1855. Excellent antique condition - minor fading and loss - areas of wear/thinning - no apparent restoration - minor stains and soiling with signs of age and use. Size/Dimensions - 20" (51 cm.) Wide x 19 1/2" (49.5 cm.) High. PIERRE ADRIEN CHABAL-DUSSURGEY - born Pierre Adrien Chabal in 1819 in Charlieu and adopting the professional name of CHABAL-DUSSURGEY - well known for his paintings and studies of flowers in gouache and oils - attended the School of Fine Arts in Lyon - exhibited at the Paris and Lyon salons - he worked with the Gobelins Tapestry Manufactory and the Beauvais Tapestry Manufactory after 1849 designing tapestries, rugs and tapestry covers for seating - he designed tapestries for the Élysée Palace and worked with Empress Eugenie on furnishings for the small salon at the Élysée Palace and two salons in the palace of the Empress in Biarritz - tapestry covered furniture...

This striking mid-century French wall hanging is a printed textile artwork designed by renowned French artist Robert Debiève. Known for his vibrant, playful compositions, Debiève’s...

72470 Late 19th Century Antique French Pastoral Tapestry Route de Limoges with Louis XV Style, French Rococo Wall Hanging. The scene depicts a family moving by a horse drawn cart on ...

Gorgeous Antique 18th Century French Beauvais Floral Tapestry Lumbar Pillow measuring 14 x 21 inches. Excellent condition. Complimentary Shipp...

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA . The period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant...

Discover the elegance of this mid-century French hand-printed tapestry featuring the exquisite design of « The month of July or The sign of the lion or The report, from the tapestry ...

76933 Vintage Persian Isfahan Prayer Rug, Islamic Art Wall Hanging Tapestry. This finely crafted Persian Isfahan prayer rug features an organically ...

Pierre Adrien Chabal-DUSSURGEY (1819-1902) Designer - BEAUVAIS TAPESTRY MANUFACTORY Maker - Important Antique Louis XVI style floral tapestry settee back fragment - the floral tapestry finely woven in wool and silk threads with garlands and swags and tassels - all centered by a powder blue ground cartouche with white roses within an oval frame - suitable for framing - France - circa 1855. Excellent antique condition - minor fading and loss - areas of wear/thinning - no apparent restoration - minor stains and soiling with signs of age and use. Size/dimensions - 35" (91.5 cm.) wide x 24" (61 cm.) high. Pierre Adrien Chabal-DUSSURGEY - born Pierre Adrien Chabal in 1819 in Charlieu and adopting the professional name of CHABAL-DUSSURGEY - well known for his paintings and studies of flowers in gouache and oils - attended the School of Fine Arts in Lyon - exhibited at the Paris and Lyon salons - he worked with the Gobelins Tapestry Manufactory and the Beauvais Tapestry Manufactory after 1849 designing tapestries, rugs and tapestry covers for seating - he designed tapestries for the Élysée Palace and worked with Empress Eugenie on furnishings for the small salon at the Élysée Palace and two salons in the palace of the Empress in Biarritz - tapestry covered furniture...

73703 Antique Persian Kerman Pictorial rug, Nader Shah Afshahr, Tapestry Wall Hanging. This antique Kerman rug displays a pictorial scene of Nader Shah Afsh...

Introducing a magnificent 20th-century tapestry that captures the essence of the gentle joys of life, festivities, music, and above all, love. Set against a rustic backdrop, shepherd...

An antique 17th century Brussels mythological tapestry, size 11'6 H x 10'8 W, from the workshop of the renowned weaver, Jan Leyniers, after cartoons by Charles Le Brun...

A large, richly colored hand blocked French wall hanging by traditional French company Artis Flora, circa early 20th century. This beautiful tapestry from ...

Two-faced drawing. Studies of characters and harbor scene. With an inscription stating it is from the sketchbook in the collection of Dr. Manuel de Espirito Santo in Lisbon. Ink a...

Antique Tapestry Rug in Wool and Cotton 11'9x9'2 Key Details: Pile: Wool Foundation: Cotton Origin: Tapestry Design: Pictorial Approximate Age: 16th century Quality (KPI): 3...

The Aubusson tapestry manufacture of the 17th, 18th and 19th centuries managed to compete with the royal manufacture of Gobelins tapestry and the privileged position of Beauvais tapestry. Tapestry manufacture at Aubusson, in the upper valley of the Creuse in central France, may have developed from looms in isolated family workshops established by Flemings that are noted in documents from the 16th century. Typically, Aubusson tapestries depended on engravings as a design source or the full-scale cartoons from which the low-warp tapestry-weavers worked. As with Flemish and Parisian tapestries...

Jean Lurcat ( 1892-1966 ) “LE BOUC BLEU” Aubusson tapestry Mid-century polychrome hand wool woven tapestry represents a Goat in foliage surmounted by a flying insect. Jean Lurçat...

Aubusson tapestry is tapestry manufactured at Aubusson, in the upper valley of the Creuse in central France. The term often covers the similar products made in the nearby town of Felletin, whose products are often treated as "Aubusson". The industry had probably developed since soon after 1300 in looms in family workshops, perhaps already run by the Flemings that are noted in documents from the 16th century. Aubusson tapestry of the 19th century managed to compete with the royal manufacture of Gobelins tapestry and the privileged position of Beauvais tapestry, although generally regarded as not their equal. As with Flemish and Parisian tapestries...

A large scale and very high quality French 18th century Aubusson tapestry likely depicting Alexander the Great, circa 1750. The ...

This large tapestry, measuring 315 cm. x 228 cm, was commissioned for a conference room and is the result of the work of three masters. It was commissioned in 1988 at FGM (Fränkische...

Our still life depicting a metal brazier on ledge is a rare painting by Baudouin Yvart (French, 1611-1690).  Stretcher measures 15 1/4 by 19 inches.  It has an extraordinary ebonized sgraffito frame, 24 by 28 by 1 3/4 inches, with inlaid mother of pearl and pewter mounts.  Professionally relined and mounted on keyed stretcher. Provenance: Private Collection, Paris, by 1974; Anonymous sale; Boisgirard et Associés, Paris, June 26, 1985, lot 26; Jocelyn Fielding Fine Art Ltd., London; Mr. and Mrs. John H. Gutfreund, CEO Salomon Brothers, New York. Literature: Michel Faré, Le grand siecle de la nature morte...

Allegory of Venus with Cupids. Oil on canvas. Enthroned by BOUCHER, François (Paris, 1703- 1770). The scene presents, in the background, an idyllic natural landscape, with trees to ...

The design for the Sedge tapestry (1983) is based on a collage of dried edelweiss flowers preserved by his mother. With its motifs and reduced color scheme, it can be classified as a...

One of a kind painting by ROGER CHAPELAIN-MIDY (Paris, 1904-1992). "Still life" , Oil on canvas. Signed in the lower left corner. Size: 97 x 76 cm; 122 x 105 cm (framed) R. Chapelai...

Haute-Lisse by Eszter Kneisz Noémi Ferenczy Award winner tapestry artist. In the large, romantic tapestry landscape entitled Childhood, we see a child clinging to a helium balloon r...

Elegant European gobelin tapestry featuring a richly detailed floral still life, produced in the late 20th century. The composition depicts an abundant bouquet of flowers arranged in...

This stunning tapestry reproduction captures the grandeur and splendor of the original Gobelins masterpiece “Portiere des Renommees” designed by ...

77026, vintage Turkish silk Hereke prayer rug with Tree of Life design. Give the look of woven wonders and warmth with this stunning silk Hereke rug....

Very pretty mid century french Aubusson style tapestry with beautiful design from the painter Fragonard. "The Swing Tapestry, painted in the 18th centu...

Oil on canvas depicting a bouquet of flowers in a vase on an entablature. Signed lower right E.GAUDISSARD. Painter, sculptor, decorator and upholsterer, born in Algiers in 1872. Fren...

"Exquisite French tapestry from the mid-20th century, featuring a beautiful design titled « Rendez-vous galant » ( Gallant meeting ) and nice colours, woven at renowned workshops in jacquard loom by wool acrylic and cotton. » This motif, which was created based on designs by Maurice Jacques...

When Louis XIV's minister Jean-Baptiste Colbert organized the royal manufactory of the Gobelins, an early suite was The Acts of the Apostles first woven at Brussels. The Brussels workshops soon fell under the influence of French design originating from the royally supported Gobelins, to the extent that the Story of Alexander suite...

Antique print titled 'Le Jacamar femelle, No. 48'. This print originates from "Histoire Naturelle des Oiseaux de Paradis et des Rolliers, Suivie de Celle des Toucans et des Barbus" by Francois Levillant. Barraband pinxt. Gremillier Sculpt. De l'Imprimerie de Rousset. Jacques Barraband (or Pierre-Paul Barraband) (1767? (baptized 1768), Aubusson (Creuse), France–1 October 1809, Lyon) was a French zoological and botanical illustrator, renowned for his lifelike renderings of tropical birds. His pictures were based on mounted specimens and his illustration was considered the most accurate ones made during the early 1800s. Barraband was born to Jacques Barraband and Marie-Anne Bebit in 1767 (or 1768) and was baptized on August 31, 1768 at the church of Sainte-Croix in Aubusson. His father worked in the local tapestry factory and the son also worked there briefly after studying art at the local school, which was famed for producing several artists of note, including Francis Roby de Faureix and Etienne de La Seiglière de La Cour. He later moved to Paris, working at tapestry and carpet stores on rue de la Huchette and studying art at l’Academie royale de peinture under Joseph-Laurent Malaine. During the French exposition of 1798, he produced some paintings for the carpet manufacturers Gobelins and Savonnerie and for the porcelain makers Dihl and Gerhard. He also made illustrations of insects for the French naturalist Sonnini and illustrated a book by Fournier on Egypt. He then produced a series of watercolours of birds...

Very pretty mid century french Aubusson style tapestry with beautiful design from the painter « Francisco de Goya (1775-1792) for the royal manufactury of Tapestry » Tapestry crafte...