This dissertation analyses 19th-century tapestry production and the reception of tapestries during this time period. Tapestry production in France and Belgium is the prime focus. The first two chapters review scholarship and primary sources surrounding 19th-century tapestry production in France and Belgium: the first concerns historiography, the second is regarding the visual material. Then the historical context for this production is examined. It is contended that this time period, from the French Revolution until the eve of the First World War was favorable for tapestry production. The position of this medium in the new political settings of France and Belgium and the rise of nationalism is elucidated. The social and artistic context in which the medium was widely displayed: in exhibitions, salons, museums and collections, national ceremonies and royal visits is discussed in detail. 19th-century scholarship on contemporary production is also analyzed. Finally, the main iconographical subjects of 19th-century tapestries, such as the reprises or tapestries made after ancient tapestries, paintings or frescos; woven portraits; and the shift from tapestries with historical scenes towards more ‘decorative’ inspired tapestries are charted. The thesis thus strives to offer readers a comprehensive view into the production and study of 19th-century tapestries in France and Belgium.