Rugs and Carpets

An antique Persian Bidjar rug from the early 20th century. The wine red small Herati pattern field is overlaid by a light blue involute Herati medallion which, in turn, is centered b...

An early 20th Century Antique Persian Malayer Antique washed Rug in gray and blue Details rug no. j2555 size 10' 5" x 13' 3" (318 x 404 cm)

a 19th Century Hand Loomed French Aubusson Tapestry Details rug no. j4421 size 4' x 5' 6" (122 x 168 cm

This vintage 3x5 Persian Gabbeh rug is the latest grand entry to Rug & Kilim’s curation of rare tribal pieces. Hand-knotted in wool circa 1950-1960. On the Design: This vintage Ga...

This vintage 3x6 Persian Gabbeh rug is the latest grand entry to Rug & Kilim’s curation of rare tribal pieces. Hand-knotted in wool circa 1950-1960. On the Design: This vintage Ga...

Discover the elegance of Persian Gabbeh featuring Small Rug in Circa 1910. Designed with Wool and BrownIvory, this exclusive design is perfect for enhancing your space.

Imperial Red, Vintage Persian Shiraz with Geometric Medallion Design, Shaved Down, Zero Pile, Sides and Ends Professionally Secured, Clean, Hand Knotted, 100% Wool, Oriental Rug Prim...

The source of carpet comes from the book Orient Star - A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.64 and Islamic Carpets, Joseph V. McMullan, Near Eas...

Elevate your living space with the exquisite charm of this new modern hand-knotted Moroccan berber beni ourain rug, crafted with precision and care from 100% wool. Combining the allu...

This is a truly genuine one-of-a-kind Fine Aryana Collection With North West Persian Design, Hand Knotted, Pure Wool, Oriental Rug. It has been Knotted for months and months in the c...

This is a truly genuine one-of-a-kind Deep and Saturated Red, Afghan Khamyab with Geometric Medallions, Soft and Shiny Wool Hand Knotted, Runner Oriental Rug. It has been Knotted for...

Discover the uniqueness of this exquisite Persian Mahal rug! Hand-knotted from luxurious, soft wool, it boasts a captivating chartreuse color palette. The centerpiece showcases a str...

Vivid Orange, Vintage Persian Heriz with Large Medallion Design, Distinct Abrash, Rustic Look, 100% Wool, Hand Knotted, Even Wear, Cropped Thin, Good Condition, Sides and Ends Profes...

This exquisite rug features a captivating tan-beige foundation, with the blue frame beautifully embellished with intricate rust floral patterns that showcase the artistry and craftsm...

Basil Green, Vintage Persian Hamadan with Geometric Medallions, Distinct Abrash, Hand Knotted, 100% Wool, Distressed, Sheared Low, Zero Pile, Sides and Ends Professionally Secured, F...

This beautiful antique Heriz Serapi rug, hand-knotted in the early 1900s, is a stunning example of Persian craftsmanship and artistry. Despite its age, the rug is in excellent condit...

Extremely Rare size, which leads us to believe this carpet originally was a custom order for a Nobel Family. Antique Serapi carpets are one of the most sought after rugs particularly in America and England for many years. Antique Serapi rugs are a major draw particularly in big city America. Serapi carpets were woven on the level of small workshop with multiple weavers working several years to complete each rug. Highly skilled artisans, they continually reinterpreted the design as they wove, creating highly spontaneous and inventive artistry. Measures: 16'2" x 18'2". Serapi is a term that is a mystery in the Persian antique carpet market. There is no location or tribe of this name. Sarab, also spelled Saab, a town in northwestern Persia, is known for weaving only runners with a camel hair pile during the nineteenth century. "Serapi" may be a nickname given by American dealers...

Discover the elegance of this exquisite hand-knotted Sultanabad wool rug, featuring a calm light blue background enhanced by multicolored designs that adorn the entire piece. Enrich ...

Measures: 6'0 x 11'0 Vintage Turkish Kars Gallery Runner with Geometric Motifs in Brown 6'0 x 11'0. Keivan Woven Arts / Rug /EN-140069, country of origin / type: Turkey / Oushak, ci...

a mid-20th-century Moroccan rug with 6 "trippy" lions on an ivory ground Details rug no. j4441 size 5' 2" x 6' (157 x 183 cm)  

This is a truly genuine one-of-a-kind Afghan Peshawar with Colorful Oceanic Fish Design, Organic Wool Hand Knotted, Oriental Rug. It has been Knotted for months and months in the cen...

Blue Afghan Angora Oushak with All Over Leaf Design, Vegetable Dyes, Organic Wool, Hand Knotted, Wide Runner Oriental Rug Primary materials: Wool Latex: No Pile height: 0.25 Inches ...

This is a truly genuine one-of-a-kind Gray Hand Knotted Pure Wool Natural Dyes Stone Wash Peshawar Runner Oriental Rug. It has been Knotted for months and months in the centuries-old...

Elevate your living space with the exquisite charm of this new modern hand-knotted Moroccan berber beni ourain rug, crafted with precision and care from 100% wool. Combining the allu...

Elevate your living space with the exquisite charm of this new modern hand-knotted Moroccan berber beni ourain rug, crafted with precision and care from 100% wool. Combining the allu...

An early 20th-century Chinese Peking carpet with an animal motif in beige and blue circa 1910, measures: 3' x 5'8".

Discover the elegance of Persian Natural Collection featuring Area Rugs in Circa 1990. Designed with Wool and Yellow, this exclusive design is perfect for enhancing your space.

79186 Vintage Tikdift Moroccan Rug, 05'02 x 08'00. A vivid expression of tribal imagination and pastoral lore, this hand-knotted wool vintage Berber Tikdift Moroccan rug from the Zan...

Crimson Red, Semi Antique Persian Heriz with Slight Wear, Sheared Low, Zero Pile, Sides and Ends Professionally Secured, Hand Knotted, 100% Wool, Oriental Rug Primary materials: Wool...

An antique Persian Heriz room size carpet in square format handmade during the early 20th century. Measures: 12' 6" x 14' 0".

Vintage Tabriz Pictorial Rug in Kork, Silk and Cotton 9'5 X 6'9 Key Details: Pile: Kork and Silk Foundation: Cotton Origin: Tabriz pictorial Design: Pictorial Approximate Age...

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...

a 19th Century Hand Loomed French Aubusson Tapestry Details rug no. j4421 size 4' x 5' 6" (122 x 168 cm

a quirky 20th century Turkish Anatolian small size rug Details rug no. j3389 size 2' 3" x 3' 5" (69 x 104 cm)

Charcoal Black, Bauhaus Inspired Design, Colorful Geometric Pattern, Arts and Crafts, Hand Knotted, 100% Wool, Oriental Rug Primary materials: Wool Latex: No Pile height: 0.25 Inche...

Originating from Turkey circa 1950-1960, this 3x8 vintage shag runner rug enjoys a resplendent high pile in beige and cream tones complementing geometric sensibilities of Tulu lineag...

Discover the elegance of "La Dame à la Licorne" titled “The view”– a beautiful late 20th-century tapestry echoing the 15th-century masterpiece at the Cluny Museum in Paris. Woven wi...

Sonic Gray, Afghan Peshawar with Birds of Paradise Design, Soft Wool, Hand Knotted, Veggie Dyes, Oriental Rug Primary materials: Wool Latex: No Pile height: 0.25 Inches Style: Trans...

Linen White, Borderless Botanical Design, Half Wool and Half Silk, Densely Woven, Soft Pile, Hand Knotted, Oriental Rug Primary materials: Wool & Silk Latex: No Pile height: 0.25 In...

Textural and chromatic dynamism maximize the decorative impact of this superb flower-shaped artisan rug. Part of an original Collection where art, fashion, and design seamlessly inte...

A finely hand knotted silk rug by Boccara, designed in homage to the iconic French Art Deco textile artist Ivan da Silva Bruhns. Commissioned in 2009, the rug features a strong moder...

Cotton Vegetable Dyed Blue, White And Red Striped Indian Dhurrie Rug-9'x12' These special flat-weave dhurries are hand-woven with 15 ply 100% cotton yarn. Due to the special manufac...

An early 20th-century American Navajo Blanket Rug Details rug no. j3080 size 2' 6" x 4' 6" (76 x 137 cm)

The Zen moss-green rug embodies the tranquility of a Japanese garden through its two-level weaving technique. Perfect for living spaces, bedrooms, and contract areas, it is the brain...

This is a Central Anatolian Modern 'New' Fine Kilim from the Konya region with a rare and beautiful color composition. As early as the 13th century Marco Polo noted, in his account...

Cotton Vegetable Dyed Indigo Blue and White Striped Indian Dhurrie Rug - Size 5'x7' (150x210cm) These special flat-weave dhurries are hand-woven with 15 ply 100% cotton yarn. Due t...

This wool and silk, black and cream Persian carpet inspired by Art Deco traditions measures 10' x 14.' Simple and elegant, "Agora" utilizes contrasting black and cream tones to creat...

This central Turkish carpet in quite good condition shows a small cartouche all-over textile lattice pattern enclosing eight petal star rosettes on a warm sand -cream ground. A plain...

An antique Persian Heriz large room size rug handmade during the early 20th century. Measures: 11' 8" x 14' 0".

Vintage Indian Dhurrie Rug Doris Leslie Blau Size: 4'8" × 7'6" (142 × 228 cm) This striking vintage Indian Dhurrie rug from the 1955 is a vivid example of traditional flatweave craft...

Swedish Flat Weave Rug by Mary Sandberg Size: 5'5" × 8'2" (165 × 248 cm) A stunning example of Swedish textile artistry, this vintage flat-weave rug by Mary Sandberg embodies the sig...

Authentic stand-alone pillow made from a 19th century French Aubusson rug Measures: 18" x 18",

Cotton Vegetable Dyed Sky Blue and Red Zig Zag Striped Indian Dhurrie Rug-4'x6' (120x180cm) These special flat-weave dhurries are hand-woven with 15 ply 100% cotton yarn. Due to th...

An early 20th Century Antique Persian Malayer Antique washed Rug in gray and blue Details rug no. j2555 size 10' 5" x 13' 3" (318 x 404 cm)

An elegant handloom viscose luxury rug, this piece features a subtle half-moon silhouette inspired by lunar phases, achieved by shaving a line on the fleece. The almost-white viscose...

This is a truly genuine one-of-a-kind Peshawar All Over Mahal Design, Hand Knotted, Pure Wool, Oriental Rug. It has been Knotted for months and months in the centuries-old weaving cr...

Introducing the Village Theme Azeri Folk Art Rug from Ararat Rugs, a vibrant testament to the rich weaving traditions of northeastern Turkey. Handcrafted by skilled Azeri and Kurdish...

This piece features a cream field that is fully and closely filled with rosettes, voluted rams’ horns and hooked diagonals, centred by a teal blue voluted, openwork medallion. There ...

This is a truly genuine one-of-a-kind Afghan Peshawar with Birds of Paradise Design, Hand Knotted, Pure Wool, Oriental Rug. It has been Knotted for months and months in the centuries...

Hand-knotted in wool circa 1910-1920, this 14x19 oversized rug is a rare antique Persian rug of Tabriz provenance and the latest addition to Rug & Kilim’s coveted Antique collection....

Hand-knotted in wool, this 2x4 rug represents the Chinese Art Deco rug collection by Rug & Kilim—inspired from the 1920s Chinoiserie style period pieces of the most elegant sensibili...

Made with handwoven wool, this 12x18 antique French Beauvais tapestry represents an iconic museum-quality addition to Rug & Kilim's Tapestry Collection—an extremely collectible and r...

Oushak rugs, also known as Ushak rugs, are woven in Western Turkey and have distinct designs, such as angular large-scale floral patterns. They usually evoke a calmness and peacefuln...

This beautiful hand-knotted wool rug displays a captivating Bidjar style with a tranquil blue background. Decorated with a gorgeous geometric floral design and enriched with various ...

A captivating tribute to Marilyn Monroe's famous scene from The Seven Year Itch where her dress rises up with the wind from the subway grate below, this stunning limited edition rug ...

Cotton Vegetable Dyed Cream, Red And Terracotta Geometric Indian Dhurrie Rug-8'x10' (240x300cm) These special flat-weave dhurries are hand-woven with 15 ply 100% cotton yarn. Due to...

A modern Turkish Patchwork room size carpet handmade during the 21st century using vintage Turkish rugs from the mid-20th century. Measures: 11' 6" x 13' 9"

79166 Vintage Persian Hunting Scene Isfahan Rug, 03'07 x 05'02. In the delicate weave of this hand-knotted vintage Persian Isfahan rug, the age-old art of storytelling unfurls—a vivi...

Introducing the exquisite Kerman Vase-Technique Carpet from Ararat Rugs, a masterful revival of the renowned 16th-century Sickle-Leaf carpets, such as the one housed in the Gulbenkia...

This is a Western Anatolian Modern 'New' Fine Kilim from the Manisa region with a rare and beautiful color composition. This kilim is woven according to traditional kilim technique...

"Pretty small French tapestry from the late-20th century, featuring a beautiful design and nice colours, woven in jacquard loom by wool acrylic a...

The price enclosed represents our price per square foot for custom orders in this design. Please share your size and we will share CADs and custom listings to check out accordingly. ...

Elevate your living space with the exquisite charm of this new modern hand-knotted Moroccan Berber Beni Ourain design rug, crafted with precision and care from 100% wool. Combining t...