Western European Rugs

Pretty small French rug with a design of Turkish rugs and beautiful colours with red, sky blue, dark blue, green and yellow, entirely hand knotted with wool on cotton foundation. Ma...

Authentic 19th century French botanic needlework. Size: 11'8" × 16'7" (355 × 505 cm) A late 19th century antique French needlepoint rug, having restrained red qua-trefoil flowerheads...

Very beautiful and fine Aubusson tapestry with a nice design featuring people having a picnic by the river , and with beautiful colours, entirely and finely handwoven with wool and s...

Arts And Crafts Style Rug by Doris Leslie Blau (custom make) Size: 12'5" × 14'9" (378 × 449 cm) A hand-knotted wool rug with a plush pile. This is a superbly executed replica of an o...

Contemporary High Low Flat Weave Sardinian Rug by Doris Leslie Blau Size: 7'5" × 9'7" (226 × 292 cm) A contemporary Sardinian rug, minutely handwoven following the traditional Sardin...

Arts and Crafts Donegal Rug by C. F. A. Voysey Size: 11'0" × 12'8" (335 × 386 cm) A rare and remarkable rug, hand made in the 1920s. It is in excellent condition, consistent with age...

53946 Vintage Greek Natural Flokati Rug, 05'10 x 06'10. Greek Flokati rugs are traditional handwoven wool rugs made in the region of Epirus, Greece, known for their soft, shaggy text...

823 - small aubusson rug.

These cushions are fine examples of needlepoints from the 1990s, constructed in china with the traditional french Aubusson style and technique. These Aubusson style cushions feature ...

Attention interior designers, this is the large rug you need for that high-profile cover-worthy room you're working on. This signed Missoni rug is from the 1980s Italy and in an oh-s...

Montesinos modern particular black carpet with white signatures. nr. 1296 -

Very beautiful and fine Aubusson tapestry with a nice design of the 18th century tapestries, Tapestry illustrating the game of Colin-Maillard, one of the subjects of the Country Amus...

Naïf Collection projects the designers’ sensibility for geometric shapes applied to an extremely suggestive form of sincere raw beauty. Guided by instinct rather than rigor, the coll...

Naïf Collection projects the designers’ sensibility for geometric shapes applied to an extremely suggestive form of sincere raw beauty. Guided by instinct rather than rigor, the coll...

Nice vintage French Cogolin rug or tapestry, with beautiful design of a flowerpot with beautiful flowers and nice colours, entirely hand knotted with wool on cotton foundation. ✨✨✨ ...

A stone's throw from the Eiffel Tower We are a family business specializing in the purchase, sale and expertise of old, modern and contemporary tapestries, rugs, kilims and textiles....

Naïf Collection projects the designers’ sensibility for geometric shapes applied to an extremely suggestive form of sincere raw beauty. Guided by instinct rather than rigor, the coll...

Naïf Collection projects the designers’ sensibility for geometric shapes applied to an extremely suggestive form of sincere raw beauty. Guided by instinct rather than rigor, the coll...

Authentic 19th century French Savonnerie botanic fragment rug Size: 8'7" × 11'9" (261 × 358 cm) An early 19th century antique French Savonnerie carpet on beige soft green field with ...

"Cobblestone" è un tappeto sostenibile realizzato in Tencel - Lyocell della designer italiana pioniere del tappeto contemporaneo Deanna Comellini. La storia di "Cobblestone". La col...

"Cobblestone" è un tappeto sostenibile realizzato in Tencel - Lyocell della designer italiana pioniere del tappeto contemporaneo Deanna Comellini. La storia di "Cobblestone". La col...

Very nice French vintage tapestry with beautiful design of shepherdesses in the countryside and beautiful colours, woven on mechanical jacquard looms with wool and cotton. ✨✨✨ "Exper...

"Stairs" è un tappeto contemporaneo realizzato in fibra di bambù e lino caratterizzato da un effetto a basso-rilievo. Il motivo a righe di luci ed ombre enfatizza l’apparenza setosa...

Tempore, Latin term denoting a temporary or provisional period. The starting point for the creative process of a collection of hand-knotted rugs made of Himalayan wool evoking a tem...

Very beautiful and fine Aubusson tapestry with a nice design of royal Court with knights, and very beautiful colors, entirely and finely handwoven with wool and silk, at the famous B...

G.T.DESIGN, brand pioniere del tappeto contemporaneo, allarga ancora di più gli orizzonti dell’arredo outdoor con "Hula Hoop", una collezione di tappeti contemporanei della fondatric...

This fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on an ivory blue background with cream green and ivory accents. This elegant piece's colou...

This fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on an ivory blue background with cream green and ivory accents. This elegant piece's colou...

"Moving Forest" è un tappeto unico nel suo genere, disegnato dalla designer Deanna Comellini per G.T.DESIGN che unisce arte, design, performance e personalizzazione. Realizzato in f...

Vintage French Art Deco hand knotted wool rug Size: 5'2" × 9'8" (157 × 294 cm) A hand-knotted wool rug made in France in the 1940’s. This is an authentic example of the Art Deco Eur...

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...

Handwoven in wool, this 5x10 rug from the European Collection by Rug & Kilim is inspired by antique Aubusson flatweaves. Its design favors rich browns and dark greens in a vivid pict...

Large Traditional Tree of Life Red Wool Carpet The Carpet is a wonderful Bright colour with an attractive pattern and a wide border The symmetrical centre panel of this intricate a...

"Cobblestone" è un tappeto sostenibile realizzato in Tencel - Lyocell della designer italiana pioniere del tappeto contemporaneo Deanna Comellini. La storia di "Cobblestone". La col...

Introducing "Soft Blue", - a stunning wool rug designed by the talented artist Dena Lawrence and lovingly handwoven in Rajasthan. This exquisite masterpiece showcases pretty pastel s...

This stunning vintage Missoni rug by T & J Vestor is made from the finest pure virgin wool and it has the most wonderful green and purple hues. Measuring 204 x 193 cm it is a really ...

Very beautiful and fine Aubusson tapestry with a nice design of the royal court with knights, and very beautiful colors, entirely and finely handwoven with wool and silk, at the famo...

ombining different material densities, from Himalayan Wool to linen, Envolée plays with the inherent tones of each fiber, giving life to a palette of natural shades, each beautifully...

Introducing the magnificent "Along the River" French tapestry designed by British artist Harris Rightway. This captivating piece depicts women drawing water from the river and engage...

Very beautiful mid century French tapestry with nice design representing the party in the field, with characters playing, dancing and having fun. with pretty colors of red, orange, g...

Born in France. Designed in Milan. Produced in Nepal. cc-tapis is an Italian company which produces contemporary hand-knotted rugs which are created in Nepal by expert Tibetan artisa...

A large and handsome neoclassical style carpet. Handmaid in the same style that the Aubusson carpets of the eighteenth century were produced. It's neutral color scheme makes it perfe...

French Art Deco Brown, Green Handmade Wool Rug Size: 5'2" × 7'4" (157 × 223 cm) Elegance offered by deco rugs cannot be found anywhere else. Inspired by the newest trends in interior...

Modern Tibetan European inspired floral handmade wool rug by Doris Leslie Blau Size: 9'0" × 11'9" (274 × 358 cm) This modern rug is a genuine work of art. It combines top-notch execu...

The Swedish collection is primarily inspired by vintage Swedish flat-weave rugs, whose geometric designs are relevant as ever in the 21st century. The collection utilizes a number of...

Beautiful French tapestry from the second half of the 20th century featuring a design by Jean Laurent titled "Le Cavalier" from the 1980s. Depicting a horseman in the woods, adorned ...

Aubusson style rug designed by Eric Cohler for Doris Leslie Blau Size: 6'0" × 8'10" (182 × 269 cm) Color: beige, brown A modern Aubusson style rug designed by the famous interior des...

Antique Arts and Crafts Runner by CF Voysey Size: 3'0" × 13'4" (91 × 406 cm) A rare and remarkable Donegal by C.F.A. Voysey runner, hand made in the 1880s. It is in excellent conditi...

Discover the timeless elegance of this exquisite Aubusson tapestry from the latter half of the 20th century. Featuring a captivating design reminiscent of medieval tapestries, it por...

"Volare" è un tappeto ultra-naturale in lana della Nuova Zelanda a motivi blu tie-dye firmato dalla designer italiana Deanna Comellini per G.T.DESIGN. Un’antica tecnica di pittura, ...

1900s French Aubusson Floral Handmade Wool Rug Size: 6'3" × 9'3" (190 × 281 cm) Aubusson rugs are universally admired for their elegant patterns and high quality piles. Few antique c...

Mid-20th century Bold French Art Deco handmade wool rug. Size: 6'8" x 10'0" (203 × 304 cm) A French Deco area rug with a geometric and linear design rendered with multiple shades of ...

Early 20th century French Art Deco beige handmade wool rug. Size: 4'9" × 6'6" (144 × 198 cm) A French deco rug with a graphic, linear and color blocked design on a sand background. C...

Vintage French Art Deco red hand knotted wool rug Size: 8'10" × 10'10" (269 × 330 cm) French style carpets that employ Art Deco styles of creativity hyper-evolved and artistically pr...

Nice 20th century French tapestry, in style of Aubusson tapestries, with a design of a medieval museum tapestry called « La Danse » ( The Danse) and beautiful colors, hand printed on...

Very beautiful large early 20th century Spanish rug with a beautiful all over design with palmettes and in the style of the antique oushak rugs, with beautiful colours with a white b...

78758 Vintage Irish Donegal Rug Inspired by William Morris, 11'03 x 15'03. Irish Donegal rugs, originating from County Donegal, Ireland, are celebrated for their thick pile, intricat...

18th century Verdure tapestry measuring approximately 8 by 10 feet. Originally made popular in French courts in the 1600’s They were very popular in the French courts. This example ...