Rugs and Carpets

74030 Antique French Rococo Romantic Pastoral Tapestry Inspired by Francois Boucher 04'04 x 10'02. This handwoven wool antique French tapestry depicts a romantic pastoral scene of a young woman walking behind a young man playing a flute. The couple Meander beneath a path of tall trees in an idyllic French countryside. Renaissance and French Rococo paintings come to mind, of endless summer hours romancing in the outdoors. While this image is specific to its time period, in the clothing and coiffures, the theme is timeless and universal. A testament to French culture and history, this antique pastoral tapestry...

19th Century N.W. Persian Serapi Carpet ( 116" x 15'10" - 350 x 483 )

Beautiful antique hungarian embroidered tissue fragment , with beautiful designs of flowers and with nice natural colours, entirely hand embroide...

Beautiful Antique 18th Century Ottoman Embroidery Textile, Country of Origin: Turkey, Circa Date: 18th century

Authentic Persian Kirman handmade wool rug (Size Adjusted) Size: 18'4" × 23'4" (558 × 711 cm). Rich in heritage and artistry, this handmade rug exemplifies the high standards of Dori...

78235 Late 19th Century Antique French Aubusson Tapestry, 04'10 x 06'01. Woven in the twilight decades of the 19th century, this antique French Aubusson tapestry is a romantic echo o...

This antique, circa 1890, Oushak runner features a green field with a central column of brick-red and shaded blue lozenges each surrounded and linked by angular floral and leafy vine...

A truly outstanding antique South East Caucasian rug in well preserved condition and with saturated natural dyes including the abrash, the changes in the color tone on the yellow fie...

Antique Turkish Taspinar village rug of classic medallion design with clear reds and blues. Taspinar is a small town on the central Anatolian plateau just south of Aksaray, it has...

Oversized antique Persian Kirman handmade wool carpet Size: 16'2" × 17'0" (492 × 518 cm). An exceptional finely-knotted late 19th century Persian Kirman (Kerman) antique carpet, the ...

An unbelievable late 19th century Persian Kazak rug with an all-over styled floral pattern woven in light and dark indigo, crimson, and white vegetable dyed wool on a brilliant gold ...

This is an Antique Persian Levar Kerman rug from the late 1890s. It is in excellent condition with no repairs or any loss to the rug. Great all-over design with great natural dyes,...

Antique English Axminster handmade carpet is very famous as English designer rug in excellent condition, circa 1880s. This red rug is kind of traditional patterned rugs has a most elegant design with attractive color combinations. And is a very good idea as a large living room rugs or dining room rugs. These large area rugs have very highly recommended by the interior designer as a luxury rug. And getting more attention in the Oriental rug store by clients. Handmade carpet rare antique rugs...

52678 Late 19th Century Antique Persian Khorassan Rug, 12'07 x 14'03. Like a timeworn manuscript revealing the whispers of history, this hand-knotted wool distressed antique Persian ...

Antique Caucasian Borchalo Kazak Prayer rug. Finely hand-knotted with even medium wool pile on wool foundation. Very good condition. Sturdy and as clean as a brand new rug (deep wa...

Size: 5ft 4in x 3ft 5in (162 x 103cm). Antique Caucasian Shirvan prayer rug with floral lattice on an ivory ground. Circa 1880 A good example of this well known group of prayer ru...

Oversized Persian Bakhtiari Carpet, 19th Century (4th Quarter) This vibrant, oversized Bakhtiari utilizes particularly beautiful vegetal colors, including brilliant yellow and deep ...

73159 Late 19th Century Antique Turkish Oushak Rug, 10'01 x 13'09. Steeped in time-honored craftsmanship, this hand knotted wool Late 19th Century antique Turkish Oushak rug is a tes...

Handmade in wool circa 1850-1860, this 5x9 antique French needlepoint rug is a particularly rare addition to our European rug collection. Its design features intricate medallions and...

Main Hall Carpet Ningxia North Central China First Half of the 18th century Measures: 12'8" x 13'4" - 386 x 406 cm Structural Analysis Warp: cotton, white, natural, Z-4-S, hand-spun...

Authentic 19th Century Persian Tabriz Handmade Wool Rug Size: 16'10" × 21'0" (513 × 640 cm). A finely-knotted late 19th century Persian Tabriz antique rug of exceptional vitality, ha...

Susani, Uzbekistan, first half 19th. cent., Samarkand, wonderful silk embroidery in Basma and Tambour stitch. Dowry pieces like this were made on narrow stripes of hand-woven cotton ...

76627, antique Baluch Bagface, Saddlebag, Afghan rug, Textile Art or Tribal Accent rug, nomadic wall hanging. This antique Afghan Baluch bagface features an open abrashed field with ...

A stunning and rare 19th century Persian Mohtasham Kashan rug with the most beautiful central medallion with a mirrored floral pattern, living in the center of a cream colored field ...

A French Aubusson historical tapestry from the late 17th-early 18th century, depicting a knight embracing a woman in classical dress, beside a man carrying a sword on horseback, a wo...

Pleasant and amazing antique Oushak carpet with unique colors and excellent size with great fine weave. Ushak rugs have been in production since the...

This exquisite Tibetan rug, measuring a compact 86 x 57 cm, is a stunning fusion of vibrant colors and intricate designs, masterfully crafted to capture the essence of Tibetan artist...

Oversized antique Persian Kirman handmade wool carpet Size: 14'7" × 26'5" (444 × 805 cm) A finely-knotted late 19th century Karastan rug Kirman, the caram...

Suzanis from the regions of Tahkent and Pishkent have some astral names such az ‘moon sky’ , 'star sky'. The main characteristic of these suzanis is that of ...

Antique Caucasian- Chi-Chi rug, measures: 3'8" x 7'8".

Nice late 19th century Shirvan rug with a Perepedil design and natural colors with green, blue and orange, entirely hand knotted with wool velvet on wool foundation.

Pablo Picasso Antique Persian Serapi - Truest Mystical Art - Museum Piece - Terracotta, Sage Green, Ice Blue, Madder-Root, Eggshell About: UNMATCHED. 1 OF 1. Never again will we lay...

Antique Tapestry 9’4” x 14’10”.

Authentic Late 19th century Persian Tabriz carpet Size: 12'4" × 17'4" (375 × 528 cm) A late 19th century antique Persian Tabriz rug, the light brown field with a pale herati pattern ...

Antique Persian Mohtasham Kashan Rug 10’4” x 14’6”. The Revival Period rugs woven by two generations of Mohtashams, from 1880 to WWI, with imported Manchester-spun, Australian merino...

Very beautiful late 19th century French Aubusson tapestry with a nice design in the garden, two women sitting and talking while a man plays music, with nice light colours with yello...

19th Century French Neo Classical Savonnerie Carpet 12'9" x 18'4" - 388 x 558

Discover the allure of our very beautiful large antique Kirman rug. Adorned with an enchanting stylized floral design and boasting a palette of lovely natural colors, this rug is a t...

Antique Persian Serapi Rug 9’4” x 12’4”. A higher grade of Heriz carpets, usually in medallion designs, with crisp natural dyes, and primarily woven between 1900 and 1930. Red field,...

This Deccan embroidery is embroidered in silk and metallic thread. They were mainly used as festive and ceremonial floor coverings . It is in rather good condition for it age. A coll...

17th century Antique Aubusson/Gobelin tapestry, France Architectural landscape, silk Antique Museal Aubosson tapestry made of silk and partly wool. Very fine and antique design. Dep...

The size denotes that the piece was embroidered as a pillow top.

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...

Oversized antique Turkish Oushak handmade wool rug Size: 15'4" × 17'7" (467 × 535 cm) A late 19th century Turkish Oushak (Ushak) antique carpets, the pale cream field with subtle sca...

73139 Late 19th Century Antique French Aubusson Tapestry, 05'02 x 06'04. Woven in the celebrated ateliers of Aubusson during the late 19th century, this exquisite French tapestry ech...

Mid 1800's Rare Antique Silk Heriz Rug Finest Masterpiece Persian Rust 4'6" x 5'10" (5' X6') 137cm x 178cm "This is an extraordinary, rare M...

Authentic 18th Century Bold, Floral Gobelins Tapestry Size: 11'8" × 13'5" (355 × 408 cm) An early 18th century Gobelins Tapestry, the black field w...

An antique Persian Kerman carpet from the last quarter of the 19th century. Measures: 11'10" x 20'9".

This wonderful niche carpet comes from Avunya, northwest Anatolia in the province of Bergama. It has the typical attributes of these rare carpets. The harmonious balance of the desig...

This magnificent Heriz carpet is a rare masterpiece that has survived from the late 19th century to the present day. Produced in the famous Heriz region of Iran, these carpets are kn...

This pillowcase is made from an antique Caucasian, shrivan rug. It does not come with an insert. Linen in the back. Zipper closure.   

Highly Artistic Antique Light Blue Background Persian Sultanabad Rug, country of origin: Persia, Circa date: 1900

Very beautiful little rug with beautiful geometrical design and beautiful natural colors, entirely and finely hand knotted with wool velvet on cotton founda...

Authentic 19th century Persian Khorassan handmade wool rug Size: 13'8" × 19'5" (416 × 591 cm) This tribe-specific traditional Persian Khorassan rug was woven on a larger sized loom c...

78778 Antique Turkoman Tekke Rug, 03'06 x 04'03. Turkoman Tekke rugs from Turkestan are handwoven carpets crafted by the Tekke tribe, one of the major Turkmen tribes historically located in the region of Turkestan, which encompasses parts of present-day Kazakhstan, Uzbekistan, Turkmenistan, Kyrgyzstan, and Tajikistan. These rugs are renowned for their exquisite craftsmanship, intricate geometric designs, and use of high-quality wool. The Tekke tribe is known for its mastery of rug weaving, and their carpets often feature repeating motifs such as guls (medallion-like motifs), octagons, and various geometric patterns. These rugs hold cultural significance and are highly valued for their beauty and historical importance, reflecting the rich heritage of the Turkmen people in the region of Turkestan. The rugged beauty of laid-back luxury intertwines with tribal enchantment in this antique Turkoman Tekke rug. Originating from the talented artisans of the Turkmen Tekke tribe, this hand-knotted wool masterpiece showcases the tribe's distinctive weaving style, rich in symbolism and heritage. Its distressed composition reveals a warm red backdrop adorned with an intricate geometric pattern of Aina guls, arranged in a captivating compartmental design. This timeless arrangement conjures visions of gentle, nostalgic days gone by, imbuing the piece with a fashionable touch of rustic allure. Framed by a wide compound border featuring X-shapes and cross motifs, this antique Tekke rug...

Bring Home Timeless Elegance with a Vibrant 150-Year-Old Antique Serapi Rug Imagine stepping into your home and being greeted by the rich, inviting tones of a 150-year-old Serapi ru...

An antique Caucasian rug from the village of Chelaberd in Southern Karabagh. This highly popular so called Sunburst or Eagle Kazak design rugs are some of the most collectible and so...

Antique Silk Tabriz Prayer Rug, Northwest Persia. A high quality pictorial and directional design. This rug is a unique interpretation of the tr...