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Paint Tapestries

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Material: Paint
French kartoun / painted floral tapestry on linen with custom painted frame
Located in Houston, TX
This tapestry is hand painted with a floral array of roses and Flowers. It is painted on a linen type fabric. The frame is Well done and hand painted in pale cream color with A silve...
Category

Mid-20th Century French Paint Tapestries

Materials

Linen, Paint

19th Century French Gauche & Thread Capriccio Castle Scene
Located in Dublin 8, IE
19th Century French gauche & thread capriccio of a castle scene in rural landscape with figures to the foreground. This piece is housed in a gilt frame. The term capriccio refers to...
Category

19th Century French Romantic Antique Paint Tapestries

Materials

Thread, Paint

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

1990s Argentine Post-Modern Paint Tapestries

Materials

Natural Fiber, Paint

Vintage Mid-Century hand knotted wool tapestry “femme et oiseaux” by Joan Miro
Located in Beirut, LB
Beautiful marked tapestry of the Spanish artist/painter Joan Miro based on his painting Femme et Oiseaux (1966). A playful, experimental approach of art is characteristic for Miros w...
Category

Mid-20th Century French Mid-Century Modern Paint Tapestries

Materials

Wool, Paint

Mid 20th Century Framed Burmese Kalaga Tapestry
Located in Charlotte, NC
An original Burmese Kalaga style tapestry, from the mid 20th Century. Untitled, (Woman with Fans). Unsigned, artist unknown. Heavily embroidered appliqué tapestry...
Category

Mid-20th Century Burmese Other Paint Tapestries

Materials

Wool, Cotton, Silk, Wood, Paint, Beads

Swedish Folk Art 'Dalamalning'
Located in Gloucestershire, GB
Swedish 19th century fold art painting of Christ preaching in simplified neoclassical surroundings, to a segregated congregation and two dogs! This central motif is surrounded by ty...
Category

19th Century Swedish Antique Paint Tapestries

Materials

Cotton, Paint

Sver by Nathalie Van der Massen
Located in Geneve, CH
Sver by Natalie Van der Massen Dimensions: 100 x 80cm Materials: Silk. Dyed blue and grey Technique: Manually woven, and painted. Hand-craf...
Category

2010s Italian Modern Paint Tapestries

Materials

Silk, Paint

of Hoping by Nathalie Van Der Massen
Located in Geneve, CH
Of hoping by Natalie Van der Massen Dimensions: 100 x 80cm Materials: Linen, bio cotton. Dyed white, grey, green. Technique: Manually woven...
Category

2010s Dutch Modern Paint Tapestries

Materials

Silk, Paint

Set of 2 Hey Moon by Nathalie Van der Massen
Located in Geneve, CH
Hey Moon by Natalie Van der Massen Dimensions: 2 x 100 x 80cm Materials: PA, Bio Cotton. Color Silver Technique: Manually woven. Hand-crafted. Diptych. Hey Moon is a beautiful e...
Category

2010s Dutch Modern Paint Tapestries

Materials

Silk, Paint

Large and Important Textile by Dutch Artist Ella Koopman, Minimalist / Op-Part
Located in AMSTERDAM, NL
Large mounted textile artwork by Dutch textile artist Ella Koopman (1945-). Rare and important collection of Koopman, exploring the effect of plaiting and colors, painting directly on the natural linnen, resulting in optical intriguing pieces of fabric. This piece can be hung site specific and in different configurations. In the 1980s and 1990s Ella Koopman raises to the top of Dutch textile design. Her fabrics were used for architectural installations and fashion by leading Dutch fashion designer of the time like Frans Molenaar, Mart Visser, Jan Janssen and international designers like Jean Charles de Castelbajac & Louis Feraud. In 1996 the Kunstmuseum Den Hague dedicated an exhibition to Ella Koopman and the use of her fabrics by (inter-)national designers. Koopman made site specific installations in private and commercial setting like the cruise ships of the Holland America Line...
Category

Late 20th Century Dutch Minimalist Paint Tapestries

Materials

Canvas, Paint

Minimalist / Op-Art Textile by Art Dutch Artist Ella Koopman in Red
By Ella Koopman
Located in AMSTERDAM, NL
Large textile artwork by Dutch textile artist Ella Koopman (1945-) in red on canvas. This piece is part of a rare and important collection of Koopman, exploring the effect of plaiting and colors, painting directly on the natural linnen, resulting in optical intriguing pieces of fabric. Created in a very labor intensive produces of painting, repainting and folding and unfolding. This piece can be hung site specific and in different configurations. In the 1980s and 1990s Ella Koopman raises to the top of Dutch textile design. Her fabrics were used for architectural installations and fashion by leading Dutch fashion designer of the time like Frans Molenaar, Mart Visser, Jan Janssen...
Category

Late 20th Century Dutch Minimalist Paint Tapestries

Materials

Canvas, Jute, Paint

19th Century Samoa Tapa Cloth
Located in Rochester, NY
Antique 19th century Samoa Siapo ( `tapa cloth ) made from the inner bark of a mulberry tree / free hand paint decorated ( Siapo Mamanu ) with the natural d...
Category

Late 19th Century Samoan Tribal Antique Paint Tapestries

Materials

Natural Fiber, Paint

Large Art Nouveau Painting C. 1908
Located in Brooklyn, NY
Originally rooted in the Italian word cartone, a cartoon is a full-scale preparatory drawing for a fresco, oil painting or a tapestry. This cartoon was prepared for the dining room mural in Charles M Schwab's Riverside Dr mansion at the turn of the century. It has painstakingly restored revealing the gorgeous colors and details of this piece of history. Last photos show cartoon before restorations...
Category

Early 20th Century Art Nouveau Paint Tapestries

Materials

Paint

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA
Located in West Hollywood, CA
Rare and Historical 17th century Flemish Baroque tapestry Period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant detail deep color grandeur t...
Category

17th Century Belgian Antique Paint Tapestries

Materials

Wool, Silk, Paint

17th Century Tapestry of The Americas Manufactured Royale De Felletin Antiques
Located in West Hollywood, CA
17th century tapestry of the AMERICAS manufactured: Royale De Felletin “The Americas” In a beautiful landscape composed of water exotic trees plants villages castles and Turkey birds...
Category

17th Century French Antique Paint Tapestries

Materials

Wool, Silk, Paint

"The Harbor at Low Tide" by Bernard Buffet
Located in Los Angeles, CA
Titled "The Harbor at Low Tide". Signed by Bernard Buffet on top right hand corner and dated, 1972, on top left. Hand-painted motif on stitched wool gives the illusion of a tapestry....
Category

1970s French Mid-Century Modern Vintage Paint Tapestries

Materials

Paint, Wool

19th Century Tibetan Thangka of Chenresi
Located in Chicago, IL
Thangkas are devotional paintings displayed by Buddhists in monasteries, temples, and even in their homes. The rich red, orange, green, and blue hues are still incredibly vibrant on ...
Category

Early 19th Century Tibetan Tibetan Antique Paint Tapestries

Materials

Brass

‘Self Actualisation’ One off Wall Tapestry, Handmade by Lawrence Kwakye
Located in Voorburg, NL
‘Self Actualisation’, a handmade painting by Lawrence Kwakye consisting of oil on jute, cotton, linen. Everyone knows the old French Gobelins from the 17th century; large tapestries ...
Category

21st Century and Contemporary Dutch Modern Paint Tapestries

Materials

Jute, Cotton, Linen, Paint

Related Items
Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
Located in Madrid, ES
Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...
Category

Early 18th Century French Baroque Antique Paint Tapestries

Materials

Silk, Wool

20th Century Vintage Tapestry
Located in Los Angeles, US
A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...
Category

20th Century Unknown Empire Paint Tapestries

Materials

Wool, Cotton

20th Century Vintage Tapestry
20th Century Vintage Tapestry
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H 69 in W 60 in D 0.2 in
797 - Tapestry of the 20th Century
Located in Paris, FR
Mechanical Tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 150 x 7...
Category

1970s French Art Deco Vintage Paint Tapestries

Materials

Wool

797 - Tapestry of the 20th Century
797 - Tapestry of the 20th Century
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H 27.56 in W 59.06 in D 0.4 in
Mexican Rug Chiapas Wool Indigenous Technique Red Black Carpet Folk Art Tribal
Located in Queretaro, Queretaro
This colorful rug is handwoven in the Southern state of Chiapas in Mexico by Javier Intzín. This beautiful cozy wool tapestry is hand knotted in fixed loom, a very traditional indigenous folk art...
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2010s Mexican Native American Paint Tapestries

Materials

Wool, Cotton

Moorish Tapestry with a 19th Century Orientalist Arabian Scene
Located in North Hollywood, CA
Large Aubusson style european made tapestry with an orientalist 19th century scene depicting an Arabian sultan and other figures and Middle Eastern Moorish architecture in the background. Probably a scene in North Africa, Morocco, Algeria, Tunisia or Egypt with a sultan well dress sitting and an old man and women around him. Great textile to use as a wall tapestry decoration. Unframed antique Belgian or French machine made tapestry depicting a Moorish Islamic scene, typical of late 18th century and early 19th century after the Orientalist scenes. This is an authentic example of French or Belgian made tapestries...
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Early 20th Century French Moorish Paint Tapestries

Materials

Fabric

668 - Aubusson French Antique Textile , 19th century.
Located in Paris, FR
Textile of the Royal Manufacture of Aubusson of the 19th century. Representation of some flowers. Perfect state of preservation. Reinforced by a fabric on the back of the work Dimen...
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1840s French Romantic Antique Paint Tapestries

Materials

Wool

668 - Aubusson French Antique Textile ,  19th century.
668 - Aubusson French Antique Textile ,  19th century.
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H 27.56 in W 53.15 in D 0.4 in
Wool Textile Wall Hanging in the style of Joan Miro
Located in Kansas City, MO
1960s wall hanging tapestry in the style of Joan Miro. Excellent condition.
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1960s Danish Mid-Century Modern Vintage Paint Tapestries

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Wool

Antique French Painted Tapestry
Located in Alessandria, Piemonte
O/4795 - Unusual elegant painted tapestry, suitable on wall. To customize it, You can write your initials' name in the cartouches in the corners. I...
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Late 19th Century French Aubusson Antique Paint Tapestries

Materials

Canvas

Antique French Painted Tapestry
Antique French Painted Tapestry
H 129.93 in W 70.87 in D 0.4 in
Tapestry of the 20th Century - N° 799
Located in Paris, FR
Tapestry of the 20th century in perfect condition of conservation. Negotiable price and free delivery. Dimension: 195 x 135 cm
Category

1970s French Art Deco Vintage Paint Tapestries

Materials

Wool

 Tapestry of the 20th Century - N° 799
 Tapestry of the 20th Century - N° 799
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H 53.15 in W 76.78 in D 0.4 in
Tapestry with frame early 20th century
Located in Premariacco, IT
Embroidered tapestry with frame and double back iron for hanging on the wall. Early 20th century period.
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Early 20th Century Italian Classical Roman Paint Tapestries

Materials

Fabric, Wood

Tapestry with frame early 20th century
Tapestry with frame early 20th century
H 33.08 in W 51.78 in D 1.78 in
Vintage Folk Art Ecuadorian Tapestry with Olga Fisch Style
Located in Dallas, TX
78310 Vintage Folk Art Ecuadorian tapestry with olga Fisch style, 01'11 x 02'09
Category

Late 20th Century Mexican Folk Art Paint Tapestries

Materials

Wool

Mid-Century, hand-woven Salasaca tapestry
Located in Los Angeles, CA
Woven wool tapestry with primitive design made from Ecuador. This Salasaca piece, named after the small Equadorian town known for its exquisite tapestries, is part of a long standing...
Category

1970s Dutch Mid-Century Modern Vintage Paint Tapestries

Materials

Wool

Previously Available Items
Antique Oil Painting Genre Courtyard Scene on Tapestry, Framed, Circa 1910
Located in Big Flats, NY
An antique painting offers oil on tapestry genre scene of young women in garden courtyard; framed; c1910 Measures- 40.5''H x 28''W x 2''D
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Early 20th Century Paint Tapestries

Materials

Tapestry, Paint

Mid 20th Century Framed Burmese Kalaga Tapestry
Located in Charlotte, NC
An original Burmese Kalaga style tapestry, from the mid 20th Century. Untitled, (People with Horses & Elephants). Unsigned, artist unknown. Heavily embroidered appliqué tapestry...
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Mid-20th Century Burmese Other Paint Tapestries

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Wool, Cotton, Silk, Wood, Paint, Beads

Mid 20th Century Framed Burmese Kalaga Tapestry
Located in Charlotte, NC
An original Burmese Kalaga style tapestry, from the mid 20th Century. Untitled, (Blonde Girls on Horses). Unsigned, artist unknown. Heavily embroidered appliqué tapestry...
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Mid-20th Century Burmese Other Paint Tapestries

Materials

Wool, Cotton, Silk, Wood, Paint, Beads

Tibetan Painted Thangka on Cloth with Red Dakini
Located in New York, NY
Antique Tibetan thangka hand-painted on cloth with Guan Yin, bodhisattvas, deities, and the red Dakini Kurukulla all atop lotuses amongst clouds, housed in ...
Category

19th Century Chinese Export Antique Paint Tapestries

Materials

Grasscloth, Paint

circa 19th Century French Painted Forest View Cartoon for a Tapestry on Paper
Located in London, GB
A wonderful early 19th century French cartoon painting which is painted on thick paper and wood backed. The painting is a scene of lake, hills and fore...
Category

1820s French Restauration Antique Paint Tapestries

Materials

Paper, Fabric, Wood, Paint

Bali Hindu Textile 'Kamasan' Painting, Indonesia, Early 20th Century
Located in Jimbaran, Bali
An early 20th Century 'Kamasan' cotton textile painting from Bali, Indonesia. The hand-painted image has great detail and depicts Balinese Hindu mythology. Dimensions: Height 154...
Category

Early 20th Century Balinese Other Paint Tapestries

Materials

Cotton, Paint

7' x 10' Wall Hanging Textile by Elliott Levine for Donghia, 1982
Located in Austin, TX
Hand painted wall hanging on heavy fabric/canvas, professionally lined. Slightly metallic gold painted border with rectangular grid in gold, orange, red, terra cotta and green. Desig...
Category

1980s American Mid-Century Modern Vintage Paint Tapestries

Materials

Paint, Fabric

Large Vintage Japanese Printed Cotton Banner
Located in Oakland Park, FL
Antique Textile Collection: Vintage Japanese Printed Cotton Banner. Two panels attached in the center. Depicting hand painted clouds and lotus ...
Category

1960s Japanese Japonisme Vintage Paint Tapestries

Materials

Gold Leaf

Mid-20th Century Mounted Senufo Korhogo Textile
Located in Chicago, IL
A bold mid-20th century Ivorian Senufo mounted hand-woven cotton Korhogo cloth depicting several figures, some in costume, dancing, amidst a field of bir...
Category

1960s Ivorian Tribal Vintage Paint Tapestries

Materials

Paint, Cotton

Early 19th Century Tibetan Thangka of Chakrasamvara
Located in Chicago, IL
The rich orange, red, green, and blue hues are still incredibly vibrant in this sacred Tibetan thangka painting. At this centre is the figure of an important multi-armed deity called Chakrasamvara seated on a lotus blossom throne. The painting is beautifully framed in hand stitched, antique fabric...
Category

Early 19th Century Tibetan Antique Paint Tapestries

Materials

Fabric, Paint

19th Century Tibetan Thangka of Amitayus
Located in Chicago, IL
The followers of the cult of Amitayus, the Buddha of Eternal Life, believed that their devotion to this Buddha would prolong their lives. In this beautifully detailed Tibetan Thangka...
Category

Late 19th Century Tibetan Tibetan Antique Paint Tapestries

Materials

Fabric, Paint

19th Century Silk Embroidery, England
Located in Dallas, TX
19th century silk embroidery with two women and an angel. Reverse painted glass with black and floral trim in oval.
Category

Early 19th Century English Regency Antique Paint Tapestries

Materials

Glass, Paint, Silk, Wood

19th Century Silk Embroidery, England
19th Century Silk Embroidery, England
H 20.5 in W 23.75 in D 1 in

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