Missing Esther finds her way home after a century

Thought to have been acquired by the Bedingfeld family of Oxburgh Estate around the middle of the 16th Century, the tapestry depicting the story of King Ahasuerus and Queen Esther is one of a set of seven that would once have all hung together. Over the centuries, they are referenced a handful of times in Bedingfeld family wills and literature and in 1903, even made an appearance in Country Life magazine before being sold at auction in 1924 and vanishing from the property records for over a hundred years.

Fast forward to 2025 and a National Trust team was assembled at speed to authenticate the tapestry and match it to Oxburgh’s records. Detective work from the team traced it back to auction notes from dealer Jacques Seligmann & Co. in 1924, before it boarded the SS Paris and travelled to New York in 1925 along with the other six tapestries. After a 70-year hiatus, in 1992 it was then sold at a Sotheby’s auction in New York, only to disappear for a further 33 years. The trail for the other six tapestries goes cold in the mid-twentieth century and their current location is still unknown.

Pierre Maes, Director of The Royal Manufacturers De Wit where the tapestry was listed for sale, comments,
“As tapestry specialists, we are always searching for exceptional pieces with a unique history. On this occasion, we had the opportunity to make a significant contribution to a tapestry's history by returning it to its place of origin. It is a true honour and every art dealer’s dream.”

Queen Esther features in the Old Testament Book of Esther and was a Jewish orphan raised by her relative Mordecai. Esther eventually became queen to Ahasuerus, King of Persia. She kept her background hidden, later discovering a plot to destroy the Jews and bravely intervening to save her people. Her story is celebrated in the Jewish festival of Purim as well as holding significance within the Christian faith. Her presence in the tapestry reflects both the Bedingfelds’ religious identity as well as the family’s wealth and status at that time in the sixteenth century.

This tapestry is of exceptional importance from a conservation point of view too. The Trust’s collection includes several tapestries of a similar date, but no other matches the style or condition of ‘Queen Esther’.

Claire Golbourn, of the National Trust Textile Conservation studio and part of the team assembled to authenticate Esther and reunite her with Oxburgh, said:
“The Esther tapestry survives in exceptional condition, with a richness of colour that remains striking for its age.

“While it has benefited from minimal previous conservation and past reweaving, nothing can take away the splendour of this tapestry. The intricate detail of Esther's cloak and canopy, together with the remarkably realistic tassels, speaks to the extraordinary craftsmanship and artistry of the piece.”

Shona Johnston, National Trust curator at Oxburgh Estate explained where the tapestry is likely to have been made.
“It’s impossible to pinpoint the exact workshop, as tapestries of this period rarely carry maker’s marks. However, the weaving and design strongly align with early 16th century Brussels production, the leading centre for high-quality tapestry at the time.

“Brussels workshops were renowned for their lifelike rendering of contemporary textiles – velvets, silks and woollens – and for their distinctive use of light and shadow to create depth in clothing and courtly scenes, a hallmark of their finest work.”

The tapestry purchase was made possible through support from Art Fund, with a contribution from the Wolfson Foundation; the Arts Council England/V&A Purchase Grant Fund and the National Lottery; an internal National Trust collections fund set up by the late Simon Sainsbury; and a private donation.

For the first time in over a century, the Queen Esther tapestry will be on public display at its original home of Oxburgh Estate from Saturday 20 June, until December this year.