- Discover the Tapestry
- History of Tapestries - What they mean
- Frequently Asked Questions
- Hanging, Care and Maintenance of your New Tapestry
- Pricing Advantage
- Why Tapestry
|Discover the Tapestry|
|A Tapestry is the result of the intersection of two kinds of threads:|
The manufacture of a tapestry can be analyzed in four stages. In order to guarantee a high quality product, the whole of the staff must be intransigent on the quality of the services carried out. One mistake can jeopardize the final result of the tapestry. These are the four stages of the manufacture of the Jacquard tapestries.
1. Creation : The first work is the creation. This work consists in the "mise en carte" the detailed drawing of the motif. Indeed, working from a medieval or contemporary design, the creator has to transcribe the colours and contours for the weaving. Which will be possible only after this work of " mise en carte".
2. Warping: Production starts in the warping workshop. It is the weaving preparation. Thousands of dyed threads are winded on enormous reels (called rollers). These threads will form the warp of the tapestry. Thus, the warper arranges the various coloured threads, side by side, in a set order.
Surrounded by a multitude of reels, the first foreman, whose eye is riveted on his machine, knows each thread and allots it to its place according to the motif. It is a work of patience on which depends the result of the tapestry.
3. Weaving: The tapestry is the result of the intersection (or interlacing) of two kinds of threads:
- warp threads laid out lengthways (warping)
- weft threads laid out crossways (weaving)
- All our tapestries are weaving in France on Jacquard looms...
- Looms Jacquard weaving: The weaver is tending the looms, in order to locate the possible defects. The warp and the weft will interlace each other, and the design will take life.
4. Finition: All the tapestries offered on this site are finished according to your requirements. The tapestries are finished, ready to be hanged on your wall.
- Most of our tapestries have an added border which is woven independently. This finition brings a decorative aspect which emphasizes the panel.
- All the tapestries are lined with a beautiful cotton fabric.
- An hanging system is put on the tapestry's back. Two means of hanging are systematically put on each tapestry: eyelets and a rod-pocket.
- the eyelets allow to hang your tapestries by using nails' head (insert nails in the wall, then hang nails' head on the eyelets).
- the rod-pocket allows to slide a rod which will be fixed into the wall, on each side of the tapestry.
History of Tapestry - What They Mean
History of our European Tapestry Collection
Save on Tapestries.com welcomes you to revel in the history of our European Tapestry collection, which in ancient days was used to decorate affluent homes and important buildings. Tapestries are functional, beautiful and portable, and contain histories as intricate as the threads that bind them. It is also believed to have covered the walls of the Parthenon These high qualities; European made tapestry reproductions are Jacquard woven in Belgium, France, and Italy. The patterns and scenes, which are woven into the fabric, are inspired from original European designs-Art, many of which now adorn the walls of fine art museums and stately manors.
Tapestry art is one of the most effective forms of literary expression the world has ever known. Through the use of this unique art form, the stories of Homer's Odyssey and Iliad were told and made vivid to the ancient Greeks. Even the stories of Virgil's Aneida and Ovid's Metamorphoses were made vivid to the Romans through the use of these woven art pieces. In fact, woven tapestry art has vividly told the stories of the Greeks, Romans, Medieval, and the Renaissance period as well as the Old & New Testament. Countless heroes and nobility have owned hand-woven tapestry art in France, England, Germany, and Italy from ancient times to more recently throughout the Thirteenth to the Eighteenth centuries. Between the hand-woven tapestry art of classical antiquity and that of the Thirteenth century, a long period of darkness and artistic void intervened in western culture, and for over a thousand years weavers were content to leave the making of large wall paintings to artists and embroiderers. Today they are made on Jacquard looms. (Click here to view our entire tapestry collection)
Our Unicorn tapestries, like the unicorn itself, are one of the marvels of the world, for in no other work of art anywhere is the pursuit and capture of this magical creature presented in such astonishing detail, with such command of pictorial verisimilitude and symbolic intention. In a duality not rare in the late middle ages, the imagery is secular and religious. The references to love, matrimonial fidelity and desire for progeny are understandable in an ensemble that may have celebrated a marriage. But the unicorn, at the same, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters; the unicorn loses his fierceness in the lap of the Virgin Mary: and thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of lover-bridegroom secured by his adored lady.
Many of the best-known works, such as the "Lady with the Unicorn" series, were produced towards the end of the fifteenth century in the Loire Valley. Approximately 15,000 people were employed in the manufacturing of these charming 'mile fleurs' scenes of lords, ladies and peasants set in a background of local flowers. Painters made the preliminary design. Weavers extracted the dyes, mostly from plants, in up to twelve colors, dyed the thread and only then commenced weaving. A skilled weaver took two months to complete just one square foot, working with English or Picardy wool, Italian silk, and silver and gold thread from Cyprus. The skills of a weaver were often passed from father to son. (Click here to view our Unicorn wall hangings).
Then, in the early Thirteenth and Fourteenth century, Gothic art appeared in woven tapestry art with its unique form of religious mystery and romance to fascinate the viewer. Their hand-woven tapestry art was intensely personal, intensely human, and overall intensely spiritual. The tapestry art created at that time was the work of men permeated with religious consciousness and with the warm comprehension of the omniscience and omnipresence of their God.
Scholars define medieval times synonymously with the Middle Ages, meaning from the fall of the Roman Empire through the 14th century, and describe the Renaissance as the period from the 14th century through the 16th century. This time frame can only be used as a general rule of thumb, as the transition in art was more gradual. As a matter of fact, many tapestry pieces from the 15th and 16th century would be considered medieval, though technically woven during the Renaissance. Wide varieties of bobbins are still used just as in the Medieval and Renaissance times. (Click here to view our medieval tapestry collection)
On the other hand evolved later on with completely opposite views. The purpose of Gothic pictorial art in hand-woven tapestry art was to tell the story beautifully and effectively, but in all cases to tell the story at any expense.
The purpose of Renaissance pictorial art in woven tapestry was to produce illusions of what reality should be. It was actually more intellectual, more abstract, and more scientific with perfection of form, precision of method, and creative grandeur as it's objective for the viewer. The artist Raphael and his Renaissance School of Ancient Roman Art, in actuality, gave rise to the Renaissance tapestry art style in the early sixteenth century. Original antique tapestry pieces can range from a few thousand dollars to over $200,000 for large high quality Renaissance pieces. (Click here to view our Renaissance tapestry collection)
Raphael was one of the greatest masters of composition that Europe has ever produced. The art-historical importance of Raphael’s famous design is more familiar, perhaps, than their original purpose and subsequent history. Pope Leo X commissioned the tapestries for the lower walls of the Sistine chapel. Michelangelo’s ceiling, completed in 1512 had destroyed the original decorative equilibrium. The tapestries may have been intended to restore that aesthetic balance. His drawings were prized and sought after even during his lifetime and is a living testimony to the glory of his art. Through the study of his drawings and engraving we can follow the development of a work of art from the germ of an idea in a sketchbook to the finished painting. Ever since the Renaissance the collection of drawings has been considered a mark of refinement and taste. In the past artists gave drawings to kings, patrons and other important people. Today all museums, galleries and prvate collectors eagerly seek after drawings by famous artists. Raphael is best known for his Madonnas and for his large figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Raphael’s paintings are living things; the flesh palpitates, the breath comes and goes, every organ lives, life pulsates everywhere. (Click here to view our Art Tapestry collection)
A tapestry is called verdure when its main subject is the green work of nature: landscapes, forests, leaves and fruit. Animal, hunters, and mythological beings are the usual additions to the verdure; a genre scene is somewhat unexpected. (Click here to read more) Vegetation was the essential subject, but this often included more than plant forms or a landscape. Architectural elements, such as a distant castle or a bridge, crept into the design with small, recognizable, woodland animals in the foreground and an occasional hunter or shepherd in the distance. The modern verdures are with animals and small figures. (Click here to view Verdure wall hangings)
(1703-1770), French painter, noted for his pastoral and mythological scenes, whose work embodies the frivolity and sensuousness of the rococo style. In figure tapestries, the great name is Boucher. From the outset Boucher’s great talent was evident in the elegance and ease of his compositions. The transitory preoccupation of his silent shepherdesses was entirely in the spirit of the first half of the eighteenth century.
Boucher, the son of a designer of lace, was born in Paris. He studied with the painter François Le Moyne but was most influenced by the delicate style of his contemporary Antoine Watteau. In 1723 Boucher won the Prix de Rome; he studied in Rome from 1727 to 1731. After his return to France, he created hundreds of paintings, decorative boudoir panels, tapestry designs, theater designs, and book illustrations. He became a faculty member of the Royal Academy in 1734. He designed for the Beauvais tapestry works and in 1755 became director of the Gobelins tapestries. In 1765 he was made first painter to the king, director of the Royal Academy, and designer for the Royal Porcelain Works. His success was encouraged by his patron, Marquise de Pompadour, mistress to Louis XV. He painted her portrait several times.
Boucher's delicate, lighthearted depictions of classical divinities and well-dressed French shepherdesses delighted the public, who considered him the most fashionable painter of his day. Examples of his work are the paintings Triumph of Venus (1740, Nationalmuseum, Stockholm) and Nude Lying on a Sofa (1752, Alte Pinakothek, Munich) and the tapestry series Loves of the Gods (1744). Boucher's sentimental, facile style was too widely imitated and fell out of favor during the rise of neoclassicism. He died in Paris on May 30, 1770. The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties, coquettish milkmaids and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting - history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. (Click here to view Francois Boucher’s art in tapestry reproduction)
Family enterprises at Aubusson and nearby Felletin supplied local patrons. Henry’s IV economic program of protection from Flemish competition encouraged their development. Light colors were favored at Aubusson partly because tapestries were coarser and looser in weave. The subjects reflected contemporary taste.
Aubusson tapestries portray pastoral settings, such as country cottages surrounded with verdure. While battle scenes were not part of Aubusson's repertoire, they were used to illustrate the size of their client's estate. "Tapestries were an early form of advertising," says James Waite, president of Heirloom European Tapestries near Sacramento, California. "When noble families traveled throughout their kingdom, tapestries advertised their power through scenes depicting famous battles or impressive hunting achievements. Usually, their estates were featured in the background, allowing them to demonstrate wealth and education. People were in awe of their power.
A sea of knots on the back side reveals the tedious handiwork required for each piece, making them a highly regarded gift during the Middle Ages. "They were given as wedding gifts, or as offerings to ambassadors from other states or kingdoms," says Waite. Kings and queens often lined their cold castle walls with these precious textiles for both their beauty and their warmth. As the demand for tapestries grew throughout Europe, countries such as Italy and Spain imported French and Belgian craftsmen to teach local artisans how to create these woven masterpieces.
Most tapestry designs began as paintings. "On a piece of cardboard, an artist would sketch the design which would later become the tapestry.” Famous artists, like Boucher, painted scenes which were then made into tapestries." One 18th-century tapestry trend included producing pieces that looked like paintings from a distance. Animal imagery such as stags, woodpeckers, and exotic fowl were often incorporated within the scenes. A lion, for example, was a symbol of power, while a unicorn, often shown rearing, translated into wisdom, elegance, grace and purity.
(Click here to view Aubusson tapestry collection)
The Bayeux tapestry is embroidery that is roughly 20”tall and 230 ft long. It tells the story of the events leading up to and including the battle of Hastings on October 14th1066. The images have been reproduced in tapestries.
The Bayeux Tapestry has preserved the glory of the Norman Conquest of England, and the drama of Harold of Wessex and Duke William of Normandy for over 900 years. Usually attributed to William's wife Matilda, the Bayeux Tapestry in fact was more likely commissioned by William's half-brother, Bishop Odo of Bayeux (also Earl of Kent), for display in the Bayeux Cathedral, which was consecrated just eleven years after Hastings. The 231-foot-long tapestry is a Norman document, but the style of the figures sewn in colored wools leads some scholars to believe that Englishmen from Canterbury actually stitched the Bayeux Tapestry. The Bayeux Tapestry was first mentioned in a 1476 inventory of the Bayeux Cathedral. In 1792, French revolutionaries used this historical tapestry as a wagon cover until a local lawyer rescued it. Scholars believe two missing panels at the end may have portrayed William on the throne of England. (Click here to view Bayeux tapestries)
Our Chenille tapestry collection boasts of floral, modern, armorial and medieval tapestries. Some of them of them have been finished unlined to enable adapt to different usages examples: wall hangings, throws or accent decorative rug (strictly light use). They are made and designed in traditional Flemish traditions by Flemish artisans.
Floral and Still life
Our Floral tapestry collection is a beautiful assortment of different Floral still lives from France, Italy and Belgium.Some of them are from famous artists such as Vincent Van Gogh, Redoute, Iphigenie Millet de Mureau, and more.
Take the opportunity to view these beautiful and stunning tapestries of scenes and views found only around the area of the Lake of Como, considered by many to be one of the most beautiful corners of the world. These scenes have been reproduced from a late 18th century tapestry scene at Lake Como in northern Italy. The terrace and gardens are those of the Villa d’Este Estate: peaceful gardens that can still be visited today. . This small and very charming village on the western shore of Lake Como has come to share the fame of Villa d'Este. Since the 1500's, the estate served as a royal residence before it was transformed in 1873 into one of Europe’s most fabulous and luxurious hotels.
Royal Hunt Scenes
Our Royal Hunt scène tapestries are tapestry reproductions from Italy and Belgium. In the early 1500's combat and hunting scenes were popular with the aristocracy. The Holy Roman Emperor Charles V was even accompanied into battle by his court painter who made sketches at the site for later weaving. Hunting scenes led to 'verdure' tapestries of lush landscapes, which in turn developed, into romanticized pastoral designs, which reflected increasing Italian influences.
Our oriental tapestry collection comprises of Royal Elephants- Woven in 1844, inspired by a design of Jean Amédée Couderc. The original is exhibited at the Musée du Louvre in Paris. We also carry an Elephant in Oriental style, trendy in Europe in the XIX th century. Woven in Aubusson along with other tapestries of camels and Lord Buddha.
(click here to view our Oriental Tapestries)
William Morris was born in Walthamstow, Essex, on 24 March 1834. The son of a wealthy businessman, he enjoyed a comfortable childhood before going to Marlborough and Exeter College, Oxford.He originally intended to take holy orders, but his reading of the social criticism of Carlyle, Kingsley and Ruskin led him to reconsider the Church and devote his life to art.
After leaving Oxford, Morris was briefly articled to G. E. Street, the Gothic Revival architect, but he soon left, having determined to become a painter. His admiration for the Pre-Raphaelites led him to be introduced to Dante Gabriel Rossetti whose influence can be seen on Morris's only surviving painting La Belle Iseult.
In the 1860s Morris decided that his creative future lay in the field of the decorative arts. His career as a designer began when he decorated the Red House, Bexleyheath, which had been built for him by Philip Webb. The success of this venture led to the formation of Morris, Marshall, Faulkner & Co. in 1861. The 'Firm' (later renamed Morris & Co) was particularly well known for its stained glass, examples of which can be seen in churches throughout Britain. Morris produced some 150 designs, which are often characterized by their delightful foliage patterns.
His greatest achievement as a designer was in the field of textiles and wallpapers. The designs for these were influenced by his knowledge of the medieval works held at the South Kensington Museum and his own observation of natural forms. (Click here to see William Morris tapestries)
English author and illustrator of picture book for very young, creator of the characters Peter Rabbit, Jeremy Fisher, Jemima Puddle-Duck, Mrs. Tiggy-Winkle, and others. Potter's popularity has shown no sign of diminishing since she created the timeless children's books.
"Once upon a time there were four little Rabbits, and their names were - Flopsy, Mopsy, Cottontail, and Peter. They lived with their Mother in a sand-bank, underneath the root of a very big tree" (from The Tale of Peter Rabbit, 1902) (Click here to view Beatrix Potter tapestries)
Cicely Mary Parker
Cicely was born in Croydon, South London in 1895 and died in 1973. Her Flower Fairies are known and loved around the world. Cicely was known as a quiet, unassuming and dedicated artist who spent her life illustrating many children's books and selling hundreds of watercolors and pastels. Today, more than twenty years after her death, her work continues to delight both young and old.
Cicely was educated at home because of ill health and taught herself to draw and paint. Cicely's Flower Fairy books brought her the most public acclaim. In these she recreated the beauty of nature as well as the joy of childhood. Her plants and flowers were observed with complete botanical accuracy and the Fairies themselves capture the unselfconscious grace of young children. For anyone who loves fairies or who loves flowers or who loves children, these are the perfect collection.
We are proud to be one of a very few retailers to stock the entire selection of Cicely Mary Barker Flower Fairy range of tapestry products.
(Click here to view Cicely Mary Barker tapestries)
Frequently Asked Questions
What is Renaissance tapestry?
Our Renaissance Collection includes numerous tapestries from the 15th century to the present period. Generally, you will find people in these tapestries, including godly legends, but these do not include romantic scenes or Verdures. Our Renaissance Collection shows tapestries in which the cartoonist and weaver appreciated and could implement the mastered art of perspective.
Tapestry production was an art form and industry of its own and a Tapissier or mill owner, and his artist cartoonist were now challenged to produce cartoons with perspective. Again the weavers were challenged and experimented with their old techniques until they achieved perspective tapestry weaving as well. Some tapestries, even later works, are difficult to place in our limited specific categories. If you are a tapestry enthusiast, you will find many of these tapestries expressing the height of human feelings evoked by the Renaissance era.
What is a Floral Tapestry?
Our floral collection is vast and varied. It includes everything from traditional still lifes to more contemporary floral arrangements. Floral Tapestries also often include decorative vertical panels with garlands, wreaths, small scenes, and lush foliage. Floral arrangements with their universal themes are always a cherished and endearing gift. A floral tapestry will brighten and warm any room, regardless of the time of year.
What are American Tapestries?
Quite simply, they depict Americana scenes. Interestingly, some are made in Belgium, and others in China.
What are Hunt Scene tapestries?
From medieval hawk hunting scenes, 16th century boar slayings, to popular 18th century foxhunt scenes, our Hunt Scene Collection depicts them all. Whether for a lodge, study, or grand foyer, our Hunt Scene Collection has the perfect tapestry for the outdoors enthusiast
What are Knights and Crests tapestries?
Chivalry, King Arthur, tournaments, battle, and royal coats-of-arms are the special focus of this regal collection. The difference between men and boys is the price of their toys. And if you have a castle, large or small, it is nothing at all without a tapestry from this collection. Cheers!
What are landscape tapestries like?
Our landscape tapestries include some verdures, pastorals or floral, but are more known for their panoramic views of tranquil places. Light, pleasant and evocative of the fresh open air.
Do you carry William Morris tapestries?
Yes, we do. Check under William Morris Tapestries
Do you carry Religious tapestries?
Yes, we do. Check under Religious tapestries.
Product Information: Hanging, Care and Maintenance of your New Tapestry
We give below a few tips on how to care and enjoy your new tapestry.
How should I hang my tapestry?
Many of our tapestries are finished with a secondary backing. On the back of your tapestry, you will find a sleeve or rod pocket running the width of your tapestry. This is sewn in to accept a rod or dowel, which should be securely mounted to your wall with appropriate brackets. Due to the large variety of rods and finials available, we do not stock or offer any selection. Drapery rods, wooden dowels and finials that will complement your interiors are readily available at most hardware centers and decorative accessory stores. . We recommend the Home Depot- Décor Department, where you can find hanging accessories very competitively priced or any other Drapery store.
Follow the accompanying directions and install as you would any standard drapery rod.
There are two ways to hang tapestries:
a) Wooden Dowel: A quick and easy way is to cut a length of round wooden dowel slightly longer than the rod pocket. Insert small cup-hooks into each end and simply place them over small picture hook nails or any other fastening system. This is quick, easy and cheap.
b) Decorative Rods: Purchase an extendable metal rod with finials (decorative ends). Use the brackets provided for the tapestry to hang ‘off’ the wall. For flush mounting, hang the rod over two picture hanging brackets hammering the nails at a 45-degree angle.
Elegant & Stunning Designer look: Show off your Tapestry and your designer skills by adding a pair of Corded tassels to either end of the tapestries to blend in and complement your existing décor.
How do I take off a crease from my tapestry?
CREASES & FINISHING
NB: Always test a small section of the tapestry for the correct heat setting before ironing. We accept no claims or liability for any instructions given below.
1. Finished tapestries: You may receive the tapestry with a few creases. To remove the creases: 1. Lay the tapestry on an ironing board or anything soft with a stiff backing with the tapestry back on the top 2. Place a soft cloth (muslin cloth or similar) along the crease 3. Carefully and gently steam iron the crease.
2. Unfinished tapestries:
To remove the creases:
1. Lay the tapestry on an ironing board or anything soft with a stiff backing with its back facing up
2. Place a soft cloth (muslin cloth or similar) 3. Carefully and gently iron the crease. Steam ironing is not recommended, however for very stubborn creases you use a steam iron.
3. Unlike a framed print, your new tapestries may not be perfectly square. The beauty of our tapestries is that they are individually woven on a loom and like any custom work may have some natural irregularities to retain the beauty and elegance of your tapestry. To help the tapestry hang better, we recommend using a steam iron to lightly iron your tapestries and flatten the ends on receipt.
How do I clean my tapestry?
Because your tapestry is mounted on a wall, it should not be subject to the same abuse as your carpet and upholstered seating; therefore it should need less frequent maintenance. (Although some have elected to place a tapestry on the floor as some of the designs lend them to this. Others use them as bedcovering or table covers, which is a traditional use.) Vacuuming the front and back of your tapestry once or twice per year, with your vacuum upholstery attachment, should be sufficient maintenance for many years to come. Consider cleaning your tapestries about as often you do your fine window treatments.
Your tapestry must be dry cleaned by an experienced drapery dry cleaning plant.
In some cities an Antique Tapestry Dealer or Oriental rug wash/ repair room may be of assistance in cleaning your tapestry.
My tapestry has a curl to it. What to do?
A curl in a tapestry is not unusual. Tapestries will bend, wave and curl and may change with the seasons and humidity differences. Some people recommend decorative weights be hung at the bottom corners. I do not necessarily like this approach. Although weights will help to keep the tapestry taut, over time they may cause excessive stretching on the sides and cause the tapestry to go further out of shape. Some have sewn drapery weights across the bottom of the backing. Evenly and regularly placed weights work well and apply less stress on one particular section.
My favorite and the easiest quick fix is to buy a wooden rod or dowel the width of the tapestry at your local hardware center. Cut the rod just a tad shorter than the tapestry width.
Now study how the backing is applied to the face tapestry. Find your sewing kit and get that little tool that opens up seams. About an inch up from the bottom open the seam just slightly more than the rod’s diameter.
Will the rod slide easily into the opening?
Now put a quick whipstitch above and below your opening to avoid future unravelling. Slide the rod in. Adjust it into place. With a little time, the even weight and rigidity of the rod will help keep your tapestry flat.
Will my tapestry fade?
Your tapestry is a textile and may fade as any textile might. In many environments, decades may pass before any noticeable fading occurs. Antique tapestries tend to be faded and washed out, and many consumers may actually find that their new tapestry's appearance improves with a little aging. (Some pay extra to have them washed or tea stained. If you wish to minimize fading, avoid hanging your tapestry in direct sunlight. In addition, closing drapes or blinds is a good precaution. Applying a window film or tint to reduce damaging ultraviolet light rays is also an alternative.
What sort of cleaning & Maintenance do I require for my tapestry?
1. An annual brushing with a soft brush is sufficient to dust your tapestry – or use the vacuum cleaner attachment. Be gentle.
2. Dry-cleaning: When required, DRYCLEAN YOUR TAPESTRY ONLY.
How much do I save buying from you?
We encourage you to check our prices against the competition. If the same item has a lower price anywhere else on the web, we will match and beat by 3% that verified price (does not include close out or liquidation sales). A perfect way of saying,” THANK YOU” for shopping with us.
Our lower prices still assures you of the finest reproduction tapestries that money can buy. We are able to offer you these low prices on these high quality tapestries as
- We buy directly in contracted quantities from the factory
- We have low warehousing costs.
- Benefit of our volume discount is passed on to you our valued customers
- There is no middleman involved in our buying
Why should I consider buying a tapestry?
Tapestries have many advantages:
- They are more beautiful and elegant.
- A tapestry doesn’t need to be framed with protective glass so the image can be seen clearly without bothersome glares.
- The natural texture of a tapestry gives a warmer and softer look to the room.
Tapestries are tougher and far more durable compared to paper prints