Textiles
Decorative textiles were an integral part of the Palace’s interior decoration before 1941. The holdings included an extensive collection of costumes dating from the 18th through the early 19th centuries with wardrobes of crown personages and imperial family members forming its most valuable portion. Today, the bulk of the Palace’s textile collection includes commemorative artwork such as Russian and French tapestries from the 18th to the late 19th centuries as well as rare European and Oriental embroideries.
The Museum’s unique assemblage of secular and military costumes is of great historical and artistic significance. To make the restoration of valuable textiles possible, the collection includes original samples of textiles that were salvaged after World War II. The textile collection at the Gatchina Palace allows for a full scale restoration to be conducted of the lost interior decoration in the state apartments and private rooms of the palace.
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Gown of Grand Duchess Ekaterina Pavlovna
Tapestry the King Borne by Two Moors
Tapestry Sancho’s Entry in the Isle of Barataria
Tapestry the Striped Horse
Ceremonial Court Dress of Empress Maria Feodorovna
Paul I’s Uniform, Paul I’s Camisole
Tapestry Ceres from the Portals of Gods Series
Fashion Doll Grand Pandora
Decorative Panels
Gown of Grand Duchess Ekaterina Pavlovna
Probably French, ca. 1780. Stamped velvet, silver brocade, lace, silk, gilded thread, twisted cord, spangles, paillettes; embroidered. Length: of bodice 51, of skirt 97, of train 225. Inv. № ГДМ-117-II - ГДМ-119-II
The Gatchina Palace collection makes it possible to trace the development of women’s clothing from the second half of the 18th century to the early 19th century. The collection boasts dresses worn by women of the imperial family.
The highlight of the collection is a child’s dress worn by one of the daughters of Paul I – the Grand Duchess Ekaterina Pavlovna. A unique work of art, it epitomises the exquisite women’s court outfit worn in the sophisticated 18th century. Similar examples of early woman’s court dress are exceptionally rare in Russian collections.
Probably French, ca. 1780. Stamped velvet, silver brocade, lace, silk, gilded thread, twisted cord, spangles, paillettes; embroidered. Length: of bodice 51, of skirt 97, of train 225. Inv. № ГДМ-117-II - ГДМ-119-II
The Gatchina Palace collection makes it possible to trace the development of women’s clothing from the second half of the 18th century to the early 19th century. The collection boasts dresses worn by women of the imperial family.
The highlight of the collection is a child’s dress worn by one of the daughters of Paul I – the Grand Duchess Ekaterina Pavlovna. A unique work of art, it epitomises the exquisite women’s court outfit worn in the sophisticated 18th century. Similar examples of early woman’s court dress are exceptionally rare in Russian collections.
Tapestry the King Borne by Two Moors
French, Gobelins, 1781. Woven in silk and wool, tapestry weaving. 499х373. Inv. № ГДМ- 170-II.
The second tapestry from the New Indies series also decorates Paul I’s Upper Throne Room. The tapestries were part of the diplomatic gifts from Louis XVI. Since 1796, they have adorned the most important stateroom in the palace, as Paul I wished.
The tapestries from the renowned New Indies series are only represented in Russia in the Gatchina Palace’s collection.
French, Gobelins, 1781. Woven in silk and wool, tapestry weaving. 499х373. Inv. № ГДМ- 170-II.
The second tapestry from the New Indies series also decorates Paul I’s Upper Throne Room. The tapestries were part of the diplomatic gifts from Louis XVI. Since 1796, they have adorned the most important stateroom in the palace, as Paul I wished.
The tapestries from the renowned New Indies series are only represented in Russia in the Gatchina Palace’s collection.
Tapestry Sancho’s Entry in the Isle of Barataria
French, Gobelins, 1774. Woven in wool and silk; tapestry weaving. 438х394. Inv. № ГДМ- 93-II
The tapestry “Sancho’s Entry in the Isle of Barataria” decorates the Crimson Drawing Room of Empress Maria Feodorovna. The Story of Don Quixote Series was painted by gifted French artist Charles-Antoine Coypel (1694-1752) in 1716.
In contrast to the tapestries woven earlier, the central scene in the tapestries from the Story of Don Quixote series is of relatively small size and resembles a framed picture placed on a damask-hung wall. This elaborate surrounding decoration came to be known as the alentours (from French word meaning environs). The introduction of alentours was a revolutionary innovation in tapestry production.
French, Gobelins, 1774. Woven in wool and silk; tapestry weaving. 438х394. Inv. № ГДМ- 93-II
The tapestry “Sancho’s Entry in the Isle of Barataria” decorates the Crimson Drawing Room of Empress Maria Feodorovna. The Story of Don Quixote Series was painted by gifted French artist Charles-Antoine Coypel (1694-1752) in 1716.
In contrast to the tapestries woven earlier, the central scene in the tapestries from the Story of Don Quixote series is of relatively small size and resembles a framed picture placed on a damask-hung wall. This elaborate surrounding decoration came to be known as the alentours (from French word meaning environs). The introduction of alentours was a revolutionary innovation in tapestry production.
Tapestry the Striped Horse
French, Gobelins, 1780. Woven in wool and silk, tapestry weaving. 499х373. Инв. № ГДМ- 169-II.
The “Striped Horse” tapestry from the New Indies series decorates the Upper Throne Room of Paul I. The images were painted in the 1720s by the renowned French painter Alexandre-François Desportes (1661-1743) and based on the earlier Indies series that was woven in the second half of the 17th century for the French king Louise XIV.
Depicted in an expressive manner and with rich colors, the scenes from the New Indies series show exotic views of West Indies and evoke the early colonial period of Latin America.
French, Gobelins, 1780. Woven in wool and silk, tapestry weaving. 499х373. Инв. № ГДМ- 169-II.
The “Striped Horse” tapestry from the New Indies series decorates the Upper Throne Room of Paul I. The images were painted in the 1720s by the renowned French painter Alexandre-François Desportes (1661-1743) and based on the earlier Indies series that was woven in the second half of the 17th century for the French king Louise XIV.
Depicted in an expressive manner and with rich colors, the scenes from the New Indies series show exotic views of West Indies and evoke the early colonial period of Latin America.
Ceremonial Court Dress of Empress Maria Feodorovna (Paul I’s wife)
Russian, ca. 1820. Satin, tulle, lace, silver wire; embroidered and decorated with applique. Length: 133. Inv. № ГДМ- 125-II-ГДМ-126-II
This white satin and fine tulle ball dress is embroidered with silver wire and applique, in relief reminiscent of crosses of the Maltese Order. The decolletage and sleeves are trimmed with real blonde lace.
All historic dresses from the Gatchina collection have preserved their original appearance without any later additions of modern materials.
Russian, ca. 1820. Satin, tulle, lace, silver wire; embroidered and decorated with applique. Length: 133. Inv. № ГДМ- 125-II-ГДМ-126-II
This white satin and fine tulle ball dress is embroidered with silver wire and applique, in relief reminiscent of crosses of the Maltese Order. The decolletage and sleeves are trimmed with real blonde lace.
All historic dresses from the Gatchina collection have preserved their original appearance without any later additions of modern materials.
Paul I’s Uniform
Russian, late 18th c. Woollen cloth with twill weave, gilded thread, metal; embroidery and casting Length: 105. Inv. № ГДМ-113-II
Paul I’s Camisole
Russian, late 18th c. Cloth, linen, metal. Length: 64. Inv. № ГДМ-114-II
For his coronation in 1797, Paul I wore the officer’s uniform of the Life-Guards Preobrazhensky Regiment, of which he was the commander. This tradition remained unchanged until 1917. On March 11, 1801, the eve of his murder, Paul wore the uniform and camisole that are now in the palace’s collection. In 1833, Nicholas I had all his father’s memorabilia transferred to Gatchina and installed in Paul I’s Oval Study.
Russian, late 18th c. Woollen cloth with twill weave, gilded thread, metal; embroidery and casting Length: 105. Inv. № ГДМ-113-II
Paul I’s Camisole
Russian, late 18th c. Cloth, linen, metal. Length: 64. Inv. № ГДМ-114-II
For his coronation in 1797, Paul I wore the officer’s uniform of the Life-Guards Preobrazhensky Regiment, of which he was the commander. This tradition remained unchanged until 1917. On March 11, 1801, the eve of his murder, Paul wore the uniform and camisole that are now in the palace’s collection. In 1833, Nicholas I had all his father’s memorabilia transferred to Gatchina and installed in Paul I’s Oval Study.
Tapestry Ceres from the Portals of Gods Series (Portières des Dieux)
French, Gobelins, ca. 1770. Tapestry, woven in wool and silk. 209х310. Inv. № ГДМ-171-II
The Gatchina collection has tapestries that come from among the most celebrated series produced by the renowned Gobelins manufactory. Their value is further enhanced by the exceptional provenance. They were given to the future Emperor Paul I and Maria Feodorovna by Louis XVI, king of France, during the couple’s tour in Europe.
The cartoons for the Portals of Gods series were created by the outstanding ornamental painter Claude Audran (1658-1734) in the late 17th century.
French, Gobelins, ca. 1770. Tapestry, woven in wool and silk. 209х310. Inv. № ГДМ-171-II
The Gatchina collection has tapestries that come from among the most celebrated series produced by the renowned Gobelins manufactory. Their value is further enhanced by the exceptional provenance. They were given to the future Emperor Paul I and Maria Feodorovna by Louis XVI, king of France, during the couple’s tour in Europe.
The cartoons for the Portals of Gods series were created by the outstanding ornamental painter Claude Audran (1658-1734) in the late 17th century.
Fashion Doll Grand Pandora Wearing a Dress of the Order of St Catherine the Martyr, First degree (the Grand Cross)
Probably French, ca. 1780-1790. Silver brocade, velvet, silk, lace, gilded thread, twisted cord, spangles, paillettes, gilded fringe; embroidered and decorated with applique. Height: 65. Inv. № ГДМ-102-II
Beginning in mediaeval times, the latest fashion trends were disseminated in Europe by using dolls as mannequins; dolls in court attire are known as Grande Pandora, and dolls in everyday clothing are known as Petite Pandora.
The present doll in the palace’s collection shows the dress of the holder of the Order of St Catherine, First Degree (or the Grand Cross). The order was established in 1714 by Peter I. The Edict on Russian Imperial Orders of April 5, 1797, issued by Paul I, strictly regulated the procedure for wearing costumes. Ladies were obliged to wear special dresses on November 24, the feast day of the order of St Catherine.
The dress was probably designed by Rose Bertin, the court dressmaker to French Queen Marie-Antoinette.
Probably French, ca. 1780-1790. Silver brocade, velvet, silk, lace, gilded thread, twisted cord, spangles, paillettes, gilded fringe; embroidered and decorated with applique. Height: 65. Inv. № ГДМ-102-II
Beginning in mediaeval times, the latest fashion trends were disseminated in Europe by using dolls as mannequins; dolls in court attire are known as Grande Pandora, and dolls in everyday clothing are known as Petite Pandora.
The present doll in the palace’s collection shows the dress of the holder of the Order of St Catherine, First Degree (or the Grand Cross). The order was established in 1714 by Peter I. The Edict on Russian Imperial Orders of April 5, 1797, issued by Paul I, strictly regulated the procedure for wearing costumes. Ladies were obliged to wear special dresses on November 24, the feast day of the order of St Catherine.
The dress was probably designed by Rose Bertin, the court dressmaker to French Queen Marie-Antoinette.
Decorative Panels
French, possibly Manufactory of Saint-Cyr, late 17th-early 18th century. Wool, silk, gilded thread, cotton cloth; tapestry stitch, embroidered in satin and couching stitch. 72х300. Inv.№ ГДМ-96-II - ГДМ-101-II
Up to 1941, these panels decorated the staterooms of Alexander III. They were probably woven at the Saint-Cyr workshop, established in 1686 by the marchioness de Maintenon, Louis XIV’s morganatic wife. The renowned workshop’s output was exclusively reserved for the French royal court.
The panels are executed with diverse embroidery techniques and are of exceptional workmanship. The French craftswomen never once repeated a single motif, making the panels truly unique works of embroidery art. There were ten panels such as this one in the original collection at the Gatchina palace, but four of them, along with other valuables, were sold abroad in the 1920s. The three of those panels are now in the Victoria and Albert Museum, Great Britain, taking pride of place in the museum’s collection.
French, possibly Manufactory of Saint-Cyr, late 17th-early 18th century. Wool, silk, gilded thread, cotton cloth; tapestry stitch, embroidered in satin and couching stitch. 72х300. Inv.№ ГДМ-96-II - ГДМ-101-II
Up to 1941, these panels decorated the staterooms of Alexander III. They were probably woven at the Saint-Cyr workshop, established in 1686 by the marchioness de Maintenon, Louis XIV’s morganatic wife. The renowned workshop’s output was exclusively reserved for the French royal court.
The panels are executed with diverse embroidery techniques and are of exceptional workmanship. The French craftswomen never once repeated a single motif, making the panels truly unique works of embroidery art. There were ten panels such as this one in the original collection at the Gatchina palace, but four of them, along with other valuables, were sold abroad in the 1920s. The three of those panels are now in the Victoria and Albert Museum, Great Britain, taking pride of place in the museum’s collection.