Western European Rugs

Handmade Vintage French Needlepoint Rug: Product Details: Name: Handmade Vintage French Needlepoint Rug Size: 3.8’ x 5.4’ (approximately 3 feet 8 inches by 5 feet 4 inches) Origin: ...

Very pretty mid century french Aubusson tapestry with beautiful design of a dog and with beautiful colours. Entirely handwoven with wool and silk on cotton foundation. ✨✨✨ "Experien...

Discover the elegance of this mid-century French hand-printed tapestry featuring the exquisite design of the renowned medieval museum tapestry, "Les Vendanges" (grape harvest) from t...

Large Modern Art Deco Style Blue Rug by Doris Leslie Blau Size: 13'0" × 23'0" (396 × 701 cm) Abstract design and superb craftsmanship make this contemporary rug a great investment fo...

Transport yourself to the serene landscapes of Sweden with this exquisite vintage handwoven Swedish wool kilim flatweave, a testament to the timeless artistry of Scandinavian craftsm...

An antique 17th century Flemish Verdure Landscape Tapestry An antique 17th century Flemish verdure landscape tapestry, size: 7.4 H x 4.9 W. This fine handwoven European wall hanging...

Article: High pile Rya rug Decade: 1960s Origin: Scandinavia, Sweden Material: 100% wool This rug is a great example of 1960s pop art interior. Made...

a late 18th century Flemish Vedure Tapestry Measures: 7'4'' wide x 9' long. Tapestries make integral part of the Flemish cultural heritage. Most of the tapestries have religious, m...

Contemporary geometric handcrafted pashmina Euro rug by Doris Leslie Blau. Size: 12'8" × 15'0" (386 × 457 cm) This mesmerizing creation is excellent not only in terms of design but a...

Very pretty mid century french Aubusson tapestry with beautiful abstract design of a city ( at the left top of the tapestry there’s the monogram of the name of the artist, «chA» and ...

Contemporary Art Deco style beige, black, gray rug by Doris Leslie Blau. Size: 12'0" × 15'7" (365 × 474 cm). This mesmerizing contemporary rug is a dream come true of any interior de...

"Bredband, blågrön" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed in 2010 at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Berit Hå...

Contemporary floral design handmade wool rug by Doris Leslie Blau. Size: 10'2" × 15'5" (309 × 469 cm). Contemporary rugs can be found in all shapes and sizes. Their fascinating forms...

Early 20th century metal thread abstract botanic tapestry Size: 6'0" × 8'3" (182 × 251 cm) This antique rug is a truly outstanding example of the tapestry technique, typically associ...

Exquisite large Antique French Aubusson rug from the early 20th century, meticulously handwoven in wool on Aubusson looms. Featuring a Louis XVI-style floral design in lovely light h...

'Mis-Shapes' Contemporary irregular abstract shape hand-tufted Viscose wool rug A combination of neatness and abstraction. A fluid patterns and shades of primary colors from vibrant to pastel, just enough to make your room stand out, yet still homey and comfortable. Original designed by Rannisa Soraya from RAG Home Hand-tufted with mixed Methods and Colours. It can be customised in size, and composition upon request. RAG under this brand, lies a strong picturesque construct with solid contemporary HOME ornaments. a delicate kind of mix materials arranged in artistic motifs the vision pursued by establishment of high-end line with the highest quality. RAG will constantly focusing and innovating, monitoring craftsmanship behind the product. RAG provide a wider selection to your HOME ornaments. The design will be consisted of limited edition with higher build quality to deliver premium value in unique features. Proudly Made In Indonesia...

"Forell, vinterstorm" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed in 2013 at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Eva Fo...

Antique Donegal by C.F.A Runner (Fragment) Size: 3'0" × 13'0" (91 × 396 cm) Color: Blue, Green, Purple, Red

"Satellit, grå" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed in 2012 at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Monica Nilss...

Very pretty antique french Aubusson style tapestry with beautiful design from the nature with an eagle. Woven on Jacquard loom with wool and cotton. ✨✨✨ "Experience the epitome of lu...

Introducing a Modern Design meets Neo Classic with a touch of Bohemian flair! Elevate your space with our exquisite macramé hangings. Crafted from natural materials like cotton rope ...

Mid-20th century Spanish floral handmade wool carpet (size adjusted) Size: 12'0" × 15'8" (365 × 477 cm) A mid-20th century Spanish carpet, the gray field with ton-sur-ton vinery trel...

Light green tones for this large carpet with repetitive patterns highlighted in intense green. Handmade Vintage rug from Spain dating back to the mid-20th century, where carpets have...

Pretty vintage hand knotted tapestry with nice design showing two horses in love with beautiful colours on brown and yellow, entirely hand knotted with wool on cotton foundation. ✨✨...

Vintage French Botanic Handmade Wool Rug Size: 8'8" × 18'0" (264 × 548 cm) A French vintage rug, the green field with botehs and red feathery leaves dominated by a central medallion ...

1970s Gorgeous Rug by Paracchi Model Twist. Pure wool. Made in Italy It’s in excellent condition and a true example of amazing Italian design. The carpet is signed on the back with P...

Rare Antique French Tapestry Handmade Tapestry Flowers Verdure 6x8ft 5'6" x 7'8" 167cm x 234cm A magnificent antique French tapestry depicting exotic flowers amongst a verdure setti...

miniature size mid 20th century turkish rug with pops of pink on a predominant brown field Measures: 1'9' x 2'9".

An early 20th-century room size Antique Turkish Oushak rug in predominantly ivory field, dominant accents in fire orange and pink Measures: 10'3'' x 13'4'' Oushak rugs originated i...

Vintage Spanish botanic handmade wool rug Size: 13'7" × 25'9" (414 × 784 cm) An early 20th century Spanish rug, the geometric compartmental design matched by large scale rosettes on ...

Enrich your living space with the rustic charm and timeless elegance of this vintage Bosnian flat-weave wool kilim. Crafted with skill and care by Bosnian artisans, this kilim is a testament to the rich cultural heritage and traditional craftsmanship of the region. The kilim's design is characterized by its intricate patterns and vibrant colors, reflecting the unique aesthetic of Bosnian textile artistry. From geometric motifs to stylized floral designs, each element is expertly woven into the fabric, creating a captivating tapestry of texture and color. Made from high-quality wool, this kilim boasts a soft and durable texture that is both comforting underfoot and resilient to everyday wear. Whether placed in a living room, bedroom, or kid's room, it adds warmth and character to any space, transforming it into a cozy sanctuary of style. As a vintage piece, this Bosnian kilim...

Contemporary geometric hair on hide grey leather Runner by Doris Leslie Blau Size: 7'1" × 18'0" (215 × 548 cm). A mix of leather and hair makes this modern runner a truly unique, add...

French Art Deco handmade wool rug. Size: 8'0" × 11'0" (243 × 335 cm) A hand-woven vintage rug with modernist design. The vertically-striped brick red and tan field with artistic over...

‘Equilibrio’ is a prime example of Clara Bona’s first rug collection ‘Relazioni’. In her first venture into rug design, renowned Milanese architect Clara Bona employs geometric shape...

Antique Axminster Botanic red, blue and beige handwoven wool rug. Size: 11'4" × 15'3" (345 × 464 cm) An English Axminster carpet, the red field with scattered green leaves around blu...

Discover the charm of our exquisite vintage French tapestry embroidery featuring a section from the Bayeux tapestry. Entirely hand embroidered with wool on a cotton foundation with t...

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...

Rare Viennese Rug by Johann Backhausen Söhne Size: 11'9" × 14'7" (358 × 444 cm) This vintage rug was created circa 1920 in Vienna by Johann Backhausen Söhne. This is how Art Deco sty...

Contemporary Stamverband Rug by Doris Leslie Blau Size: 5'4" × 7'1" (162 × 215 cm) This contemporary hand-knotted rug was made using only the best available materials. It immediately...

Exquisite late 19th-century French needlepoint tapestry originally from a chair cover but can be also use for cushions, or frames. Adorned with a captivating floral design from the N...

Size: 2ft 4in x 1ft 7in (70 x 48cm). Antique Swedish carriage cushion, filled and ready for use. Mid 19th century. This beautiful carriage cushion has a truly outstanding design w...

Beautiful mid century French Cogolin rug with a nice art nouveau design and beautiful colours with brown, beige and grey, entirely hand knotted with wool on cotton foundation. ✨✨✨ "...

Introducing a stunning vintage Scandinavian carpet from the mid-twentieth century, measuring an impressive 6'7" x 10'7". This unique piece boasts a captivating design with a warm red...

Size: 2ft 4in x 1ft 10in (71 x 56cm). Antique Swedish carriage cushion cover face. Mid 19th century. This beautiful cushion cover face is woven in interlocked tapestry technique; ...

Vintage French Art Deco Handwoven Wool Rug Size: 11'0" × 15'8" (335 × 477 cm). This vintage circa 1930 French Deco area rug features abstract patterns and curlicues on a field of gra...

Taurus Collection modern striped goat hair rug by Doris Leslie Blau. Size: 4'0" × 6'1" (121 × 185 cm). Nowadays contemporary carpets enjoy an unfaltering popularity and it is easy to...

Exquisite late 19th-century French needlepoint tapestry originally from a chair cover but can be also use for cushions, or frames. Adorned with a captivating floral design from the N...

This is a modern European pictorial hand-knotted rug woven during the second quarter of the 20th century circa 1920 - 1950s and 180 x 121CM in size. This piece depicts 7 European sol...

Exquisite late 19th-century French needlepoint tapestry originally from a chair cover but can be also use for cushions, or frames. Adorned with a captivating floral design from the N...

Beautiful late 20th century French mechanical Jaquar made tapestry with beautiful design and light colors, machine made with wool and cotton.

An early 20th-century Turkish Yastik Antique Rug Measures: 1'7” x 3'3”.

78688 Vintage French Savonnerie Style Rug, 09'02 x 12'00. This hand-knotted wool vintage Pakistani Savonnerie style rug is a testament to the fusion of artistic traditions. At its he...

English Axminster rug. Axminster, Devon, Great Britain, circa 1760 (George III). Provenance: Baron Guy de Rothschild.

A 9x17 antique Arraiolos rug from the titular region of Portugal, famed for its craft honed through generations of needlewomen. This beauty enjoys a neoclassical, turn-of-the-centu...

Antique Spanish Rug Size: 14'1" × 16'9" (429 × 510 cm) This early 20th-century Spanish hand-woven by a skilled artist from the best available materials rug is a beauty incarnate. The...

The bouquets are adorned with velvet, the carpet is scattered with entwined red and yellow roses. But who hides behind this message of love and jealousy, of loyalty and treachery?......

Vintage room-size hand-knotted French rug with a modern all over geometric pattern in yellow, pale blue, back from the first quarter of the 1900s. The design and colors used in the rug are reminiscent of vintage mid century Swedish rugs and kilims. The field's multi-faceted colors play host to a remarkable design of ragged geometric patterns in black set on a pale yellow field color. The rug has a wonderful wide border with geometric designs in black and pale blue and green. Dimensions: 6’ 3” x 8’ 7” Date of Manufacture: 1st Quarter of 20th Century Place of Origin: France Material: Wool pile on a cotton foundation Condition: Wear consistent with age and use, Resized, Repairs Antique Aubusson Carpets, Savonnerie Carpets, Antique Rug Rugs, Antique Rugs, Vintage Rugs, Handwoven Rugs, Artisan Rugs, Handmade Rugs, French Country Rugs, European Rugs, Vintage Spanish Carpets, Vintage Swedish Kilims, Family Heirloom Rugs, Inherited Rugs, Climate Change, Manufacturing Pollution, Environmental Pollution, Reducing Carbon Footprint, Sustainable Living, Vintage Oriental Rugs, Vintage Artisan Rugs, Antique Carpets, Vintage Carpets, Pale Yellow Rug.

Exquisite late 19th-century French needlepoint tapestry originally from a chair cover but can be also use for cushions, or frames. Adorned with a captivating floral design from the N...