Folk Art

Wall Painting “Red Rose” Stay by Malerba The “Red Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers,...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

Ever dreamt of walking on a canvas of art? This hand-knotted rug , intricately carved with ethereal designs and patterns, beckons you to experience the sublime. Crafted in the heart ...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery artist...

Opulent 18th century Baroque carved giltwood reliquary (a container for relics) monstrance with curled scroll design. It houses a first-class relic of the blood of the15th Century sa...

French landscape by Bernard Labbe (French mid 20th century), stamped verso original watercolor/gouache painting on paper overall size: 13 x 19.75 inches condition: very good and...

A pair of Rococo style light Gustavian grey-painted Swedish nightstands or night tables from the first half of the 20th Century. These Scandinavian have a charming patina have each ...

18th Century Italian hand-carved speckled silver leaf tassel ornaments. The tassels originally came from an Italian church in Tuscany and were used during feast days. These tassels were commonly used to adorn 18th and 19th century French and Italian chandeliers...

6ft wood Thai dancer statue Thai deity with mirrored accents throughout. Deity is holding a staff, with arm outstretched. Statue is hand carved.

Painting of a Gypsy, Bohemian woman drawing the cards. Representation of a Cartomancer and Fortune Teller. Oil on canvas. Very well represented. fine and pleasant features. Delicate work. Signed lower right by M. Callewaert circa 1940 Maurice CALLEWAERT is a Belgian artist born in Belgium in 1900 and died in France in Paris in 1986. Belgian painter from West Flanders...

Introducing this luxurious wool rug from our Decade collection that blends sophistication and comfort in a stunning curvy embossed pattern. The curvy embossed pattern takes center st...

Blue landscape by Bernard Labbe (French mid 20th century), stamped verso original oil painting on paper overall size: 14 75 x 22 inches condition: very good and ready to be enjo...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

A wonderful example of Otto Heino's famous Chinese Imperial yellow glaze - thought to have been lost for years and rediscovered by Heino. A very rare and highly coveted glaze and textured shape. Sure to brings years of aesthetic pleasure. This piece has a great feel and heft to it. A fantastic work by all accounts. Signed and dated (2002) by Heino on the base. Would make for a fantastic addition to any modern ceramics and pottery collection or an eye-catching Stand-alone work in about any setting.  Otto and his wife Vivika worked in ceramics side by side for many years until her passing. The couple is winners of the following awards: Gold Medal from the sixth Biennale internationale de céramique d'art, in Vallauris, France, (1978). Silver medal from the International Ceramics Exhibitions in Ostend, Belgium, (1959) Their work can be found in the following collections: American Craft Museum, New York City, NY County Art Museum and Craft Folk Art Museum, Los Angeles, CA De Young Museum, San Francisco, CA Museum of Fine Arts, Boston, MA Picasso Museum in Vallauris, France Smithsonian Institution, Washington, DC Craft & Folk Art Museum, Los Angeles Mingei Museum, San Diego Ventura County...

A wonderfully designed and exceptionally rare hand painted, earthenware three tile/panel plaque/ wall hanging by ceramics masters husband and wife artists Vivika and Otto Heino. Quite heavy and substantial in size. The couple was best known for their inspired designs and distinctive glazes. This massive 3 tile plaque, which shows clear signs of Asian influence, is attached to a board for hanging. Again exceptionally rare in both scale and design. We have never seen another like this by the couple. The work is signed and dated (1988). Would be the crown jewel in any Heino collection and sure to stand out in any setting, modern or otherwise. Very unique. Very rare. Dimensions: 47.5" high, 18" wide, 1.5" deep. The piece is quite substantial and weighs 44 pounds. The couple are winners of the following awards: Gold Medal from the sixth Biennale internationale de céramique d'art, in Vallauris, France, (1978). Silver medal from the International Ceramics Exhibitions in Ostend, Belgium, (1959). Their work can be found in the following museums and collections: American Craft Museum, New York City, NY American Museum of Ceramic Art, Pomona, California Ariana Museum, Geneva, Switzerland Arizona State University Art Museum, Tempe, Arizona Baltimore Museum of Art, Baltimore, Maryland Brunnier Art Museum, Iowa State University, Ames Iowa Cooper-Hewitt National Design Museum, Smithsonian Institution, New York, New York County Art Museum and Craft Folk Art Museum, Los Angeles, CA Craft and Folk Art Museum, Los Angeles, California Des Moines Art Center, Des Moines, Iowa De Young Museum, San Francisco, CA Everson Museum of Art, Syracuse, New York Fitchburg Art Museum, Fitchburg, Massachusetts Fred Jones, Jr. Museum of Art, The University of Oklahoma, Norman, Oklahoma Hartford Jewish Community Center, Hartford, Connecticut Joslyn Art Museum, Omaha, Nebraska Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art (LACMA), Los Angeles, California Memphis College of Art, Memphis, Tennessee Mills College Art Museum, Oakland, California Mingei Museum, San Diego Museum of Art and Design, New York, New York Museum of Fine Arts, Boston, MA Newark Museum, Newark, New Jersey Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah Picasso Museum in Vallauris, France St. Paul Gallery, St. Paul, Minnesota Ruth Chandler Williamson Gallery, Scripps College, Claremont, California Smithsonian Institution, Washington, DC Southern Highland Craft Guild, Asheville, North Carolina Tweed Museum of Art, University of Minnesota, Duluth, Duluth, Minnesota University of Illinois at Urbana-Champaign, Champaign, Illinois Ventura County...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Pair of 18th century Italian hand-carved gold leaf tassel ornaments. They are two of the same shape of tassel but in two different sizes ...

Vincent van Gogh, Ege Art Line, Modern Carpet, Cherry Blossom Rug, Signed & Labeled An exceptional 100% wool carpet from 'The 20th Century Masters Collection' by Ege Art Line and pr...

Beautifully executed pastel of a Sponge Diver in amazing colors. Signed lower right corner Americo Di Franza is the artist. In excellent condition.

18th century Italian hand carved gold leaf tassel ornaments with gold trim. The tassels originally came from an Italian church in Tuscany ...

Embark on a visual journey with our Handtufted Rug, a captivating work of abstract art on a cloth canvas. Imagine it as the cityscape of your floor, where the Ebony Slate ground colo...

A vintage Turkish Sparta rug that has been overdyed teal with hand-knotted raised piles to form the 'pseudo' medallion, spandrels, and border of this modern folk piece.

Artforms: An Introduction to the Visual Arts Duane and Sarah Preble Softcover Book. 5th Edition 1994. Publisher: Harpercollins College Div, 1994. For Art Appreciation, Art for Non...

18th century Italian gold leaf tassel ornaments. These were once used to decorate churches for feast days like Christmas. They are hand-...

Large vintage Hamm's beer lakeside plastics advertising hanging lighted sign. Item features a large impressive size, lighted interior, "Hamm's Beer, Take Home Cool Refreshment," orig...

Very unusual. Have never seen one like this. Most likely had a painting inset, but mirror could be placed inside. Stand alone or hang on wall.

This piece is titled Smile Through The Chaos, painted in 2021 during lockdown and using an abandoned car park sign as the medium. Measuring 183cm wide x 93cm Height Drew is an 'Outsider' artist based on the Romney Marsh in Kent.Painting from his self built studio in the rural village of Lydd, Drew's creativity sees the use of found and salvaged materials and media throughout his work. This sustainable creativity sees the recycling of abandoned paints, varnishes and substitute base materials such as metal and wooden panelling...

My uncle Bob was a country lawyer in rural Alabama and Moses Tolliver was one of his friends and clients. The pair of original paintings you see here were given to my uncle by Mr. Tolliver in exchange for legal services in the 1980s. Both the human figure and the snake were painted on scrap wood paneling and each has an aluminum beer pull-tab on the back for hanging. The works have been framed so the pull tab is not visible; if you prefer, simply remove the frames and both pieces will be as created. The snake painting...

Abstract Copper Art Work Wall Plaque by Jaques Kruger 1972 A very impressive piece it is large and 3 dimensional, it is a mid century impressionist vi...

18th Century Italian hand-carved silver leaf tassel ornaments. The tassels originally came from an Italian church in Tuscany and were used during feast days. These tassels were commonly used to adorn 18th and 19th century French and Italian chandeliers...

A small wall hanging quilt by master quilter Nina M. Groves known for her famous Quilt barn trail which had designs of them painted on over 1000 bar...

Stunning futuristic android bust by W. Beaupre. Bust is embellished with intricate gold chain, pearls and vintage jewelry findings. The atte...

Pop Art Niki de Saint Phalle inflatable plastics Rhino collectibles, France, 1999. Toys for happiness.

Our Tic Tac Toe is a beautiful, modern and fun take on the classic game. The three dimensional pieces are handmade in black pearl & black resin and the board is made of oak wood vene...

1970s Piaget lady gold watch, with the face watch in Jade, with original watch strap in alligator signed by Piaget. In excellent condition, it works p...

This a wonderful driftwood sculpture or assemblage by Marc Bourlier originally purchased at Galerie Beatrice Soulier in Paris when the gallery had their exhibition 'Small de Marc Bou...

Helmet sculpture with free stand in metal and aluminium Arai helmet , Japanese manufature, One of the most distinctive features of an Arai helmet is the comfort it offers. How comfor...

Protopunk is a collection of furniture and objects designed by Joost Van Bleiswijk. Each piece is handmade with thick cuts of steel roughly cut with a torch, welded together and then...

Like a canvas brought to life, our Modern Hand Tufted rug from rural India is a masterpiece of contemporary design. Imagine a vibrant interplay of shapes akin to origami creations un...

Large Percisionist ModerN Oil Painting on Canvas by Canadian artist Allan Lorne Hecker,,Titled "A Calder walking to the park" Hand executed.. Great use of color, TEXTURE and space..

Original oil painting attributed to Fausto Zonaro. no paperwork. beautifully painted in custom frame. Some separation on canvass on bottom of frame. See detailed pics and message u...

A hand-carved stone coin from Indonesia, white color. Round center. Mounted on a black metal stand. Dimensions: 30 inches in diameter, 3 inches thick. Height: 35 inches (mounted on a...

Eight colored rug with organic circle pattern designed by Verner Panton. Material: 100% New Zealand wool Hand tufted Color: Tone-in-tone dark yellow.

Vintage 1958 Jos. Schiltz Large 73" Lighted Brewing Beer Advertisement Bar Sign. Item features a large impressive size, fluorescent lighted bulb interior, wonderful color, original l...

"Space bar" by WAS Airplane trolley turned into an unique Artwork The trolley has been customized by the french artist WAS transforming it into a work...

Set of 16 highly original miniature furniture. It consist of a dining table with 4 chairs, 2 beds with night stands and an occasional chair an a l...

This 8' x 10' Jaipur wool rug in royal gold and sunflower is a radiant addition to any space, crafted by skilled artisans with a contemporary textural design. The rich gold tones evo...

Embark on a design journey with this modern hand-tufted rug, a captivating masterpiece handmade in rural India. Like a canvas of self-expression, it celebrates diverse personalities ...

A fabulous bright gilt 18th Century Italian mirror within a bordered glass frame. This mirror has had some minor restoration, commensurate with age. Circa 1790.

Corps Céleste III unique sculpture by Awaré Dimensions: L 35 x H 54cm Materials: Plane tree, naturel dyed silk, pigment, oxidation Awaré is the meeting of the sculptor Jérôme Pereira and the artist Sylvia Eustache...

- Depicts a member of Mayan nobility with quetzal feather headdress and three dimensional design elements - Created using copper, brass, malachite, o...

This piece is titled 2 Cats and a Bone, painted in 2020 during lockdown and using an abandoned car park sign as the medium. Measuring 152cm wide x 84cm Height Drew is an 'Outsid...

A stylish sculptural Studio Pottery of a bison made by Ann & John Farquharson and dating to the later 20th or early 21st century. The standing figure is hand formed with piped clay t...

Ever wondered how to seamlessly blend modern aesthetics with timeless craftsmanship? Look no further than our handwoven rug collection, straight from the rural looms of India. Embrac...

Experience the epitome of refined elegance with our Flatweave rug. Its understated patterns effortlessly flow into subtle gradients, creating a minimal and unembellished design. The ...

What whispers of elegance and serenity does this exquisite flatweave rug carry within its threads? Inspired by minimalism and adorned with unembellished patterns, its subtle gradient...

Inspired by the ethereal allure of tone-on-tone aesthetics, our marble-hued rug sets the stage for elegance. Crafted from a blend of wool and viscose, each fiber meticulously handkno...