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Rugs and Carpets

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Rugs and Carpets For Sale
Style: Baroque
Style: Kazak
Caucasian Kuba Small Antique Runner
Located in New York, NY
An early 20th century high decorative Caucasian Kuba runner with a colorful repetitive design on a navy color field Measures: 3'4'' x 7'6''.
Category

Early 20th Century Caucasian Kazak Rugs and Carpets

Materials

Wool

Early 18th century Flemish antique tapestry 10x13 Verdure Wool & Silk 297x384cm
Located in New York, NY
Early 18th Century Antique Flemish Tapestry Fine Verdure Wool & Silk 9'9" x 12'7"(10x13) 297cm x 384cm Circa 1720 "This is a very fine Authentic Antique Flemish wool & silk Tapest...
Category

Early 18th Century French Baroque Antique Rugs and Carpets

Materials

Wool, Silk

Antique Verdure Tapestry Large Handmade Tapestry Birds
Located in New York, NY
Antique French Tapestry Verdure Tapestry Bird Tapestry 3'4" x 5" 102cm x 153cm 1920, circa 1920 "A magnificent antique French tapestry depicting birds am...
Category

1920s French Baroque Vintage Rugs and Carpets

Materials

Wool

Gold Ground Antique Marasali Shirvan Prayer Rug, Hand-Knotted, Wool Oriental Rug
Located in Port Washington, NY
Unique Marasali prayer rug attributed to the Marasali group, this prayer rug from the Shirvan region has a brilliant golden-yellow field and a diam...
Category

1880s Russian Kazak Antique Rugs and Carpets

Materials

Wool

Eye-catching Antique Caucasian Kazak Rug 3'9" x 9'5"
Located in New York, NY
Eye-catching Antique Caucasian Kazak Rug, Country of Origin / Rug Type: Caucasian Rugs, Circa date: 1900
Category

20th Century Caucasian Kazak Rugs and Carpets

Materials

Wool

Colorful Antique Caucasian Kazak Rug 4'9" x 10'4"
Located in New York, NY
Colorful Antique Caucasian Kazak Rug, Country of Origin: Caucasian Rugs, Circa date: dated 1904
Category

20th Century Caucasian Kazak Rugs and Carpets

Materials

Wool

Bobyrug’s vintage Xinjiang Chinese runner
Located in Saint Ouen, FR
Nice mid century Chinese rug from Xinjiang, and beautiful geometrical design, and nice colours with a blue sky orange, yellow and black, entirely hand knotted with wool on cotton fou...
Category

Mid-20th Century Chinese Kazak Rugs and Carpets

Materials

Wool, Cotton

Vintage Afghan Kazak Wool Nomadic Area Rug Runner Geometric 8 Point Stars
Located in Dayton, OH
Mid 20th century wool nomadic Kazak rug from Afghanistan. Features a field of blue with geometric design and colorful border of 8 point stars.   
Category

Mid-20th Century Kazak Rugs and Carpets

Materials

Wool

Bobyrug’s pretty distressed antique Bokhara rug
Located in Saint Ouen, FR
Beautiful antique Turkmen Bokhara distressed rug with nice geometrical and tribal design of Bokhara rugs, and nice natural colours with red, blue, orange, yellow and white, entirely ...
Category

Early 20th Century Afghan Kazak Rugs and Carpets

Materials

Wool

Bobyrug’s wonderful antique rare Caucasian Karabagh rug
Located in Saint Ouen, FR
Very beautiful late 19th century Armenian Karabagh rug with beautiful and rare stylized floral design and nice natural colours with a blue navy field, red, white and gold, entirely a...
Category

Late 19th Century Armenian Kazak Antique Rugs and Carpets

Materials

Wool

Bobyrug’s antique seychour shirvan rug
Located in Saint Ouen, FR
Beautiful late 19th century Caucasian shirvan rug with beautiful geometrical and stylized designs with many symbols and signs and also stylized birds and animals, with a typical bord...
Category

Late 19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool

Antique Kazak Runner, Handmade Oriental Rug, Red, Blue, Yellow, Off-White, Green
Located in Port Washington, NY
Very unusual design, Kazak rugs are among the most sought after Caucasian rugs. This Kazak is a great example of a 19th century collectible piece. Measures: 3'3" x 6'6".
Category

Late 19th Century Russian Kazak Antique Rugs and Carpets

Materials

Wool

Bobyrug’s nice vintage Turkish Anatolian rug
Located in Saint Ouen, FR
Nice vintage Turkish rug with beautiful design of Caucasian rugs with geometrical design and nice colours with an orange field, blue, green, white and pink in design, entirely hand k...
Category

Mid-20th Century Turkish Kazak Rugs and Carpets

Materials

Wool

Bobyrug’s pretty vintage Xinjiang shirvan design rug
Located in Saint Ouen, FR
Very beautiful mid century Chinese Xinjiang rug with nice geometrical design of Caucasian shirvan Lesgui rugs, with stylized designs and nice colours with a sky blue field and blue, ...
Category

Mid-20th Century Chinese Kazak Rugs and Carpets

Materials

Wool, Cotton

Rare Antique French Tapestry Handmade Tapestry Flowers Verdure 6x8 167x 234cm
Located in New York, NY
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...
Category

1920s French Baroque Vintage Rugs and Carpets

Materials

Wool

Zabihi Collection Moghan Antique Caucasian Kazak Rug
Located in New York, NY
Late 19th century full pile Moghan Kazak Cacuasian rug Details rug no. j3795 size 4'1" x 6' 10" (107 x 231 cm)
Category

Late 19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

Antique Caucasian Kazak Rug
Located in Closter, NJ
The Caucasus is the geographically-isolated mountainous region north of Persia between the Black and Caspian Seas. The diverse population of this area primarily consists of Armenians...
Category

Late 19th Century Armenian Kazak Antique Rugs and Carpets

Materials

Wool

Vintage Persian Qum Rug
Located in Dallas, TX
78689 Vintage Persian Qum Rug, 04'05 x 06'07. Persian Qum rugs are exquisite handwoven creations originating from the city of Qum in Iran, renowned for their exceptional craftsmanshi...
Category

Late 20th Century Persian Baroque Rugs and Carpets

Materials

Wool

Gianni Versace Atelier Rug
Located in Long Island, NY
Gianni Versace Atelier Rug .All Hand Knotted in Wool and Silk . Rare piece .
Category

1990s Italian Baroque Rugs and Carpets

Materials

Wool

Bobyrug’s Pretty Vintage Azerbaïdjan Rug
Located in Saint Ouen, FR
Nice mid century Azerbaïdjan rug with beautiful design of Caucasian shirvan rugs and nice colors, entirely hand knotted with wool velvet on cotton foundation. ✨✨✨ "Experience the ep...
Category

Mid-20th Century Azerbaijani Kazak Rugs and Carpets

Materials

Wool, Cotton

Bobyrug’s Pretty Vintage Azerbaïdjan Rug
Located in Saint Ouen, FR
Nice mid century Azerbaïdjan rug with beautiful design of Caucasian shirvan perepedil rugs and nice colors, entirely hand knotted with wool velvet on cotton foundation. ✨✨✨ "Experie...
Category

Mid-20th Century Azerbaijani Kazak Rugs and Carpets

Materials

Wool, Cotton

Antique Kazak Carpet, c. 1920s
Located in London, GB
The Caucasus have a rich history of rug weaving, stretching back several centuries. The region stands at the crossroads of various cultures, and its carpets reflect this in their cre...
Category

1920s Azerbaijani Kazak Vintage Rugs and Carpets

Materials

Wool

Bobyrug’s nice little Chobi Afghan rug
Located in Saint Ouen, FR
Pretty little Chobi rug with a nice design of old Caucasian rugs and beautiful colours with a sky blue field, red, yellow and beige on design, entirely hand knotted with wool on cott...
Category

Late 20th Century Afghan Kazak Rugs and Carpets

Materials

Wool, Cotton

Fine 19th Century 'Mina Khani' Karabagh Carpet
Located in London, GB
Antique Karabagh rugs are much sought after by collectors and designers as they boast some of the oldest and most varied designs of all Caucasian weavings, and represent perhaps the ...
Category

1890s Armenian Kazak Antique Rugs and Carpets

Materials

Wool

Bobyrug’s pretty late 19th century Caucasian shirvan rug
Located in Saint Ouen, FR
Beautiful late 19th century shirvan Caucasian rug with nice geometrical and stylized designs with nice natural colours with a blue background and red, blue, and brown . A beautiful ...
Category

Late 19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool

Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
Located in Madrid, ES
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...
Category

Early 18th Century French Baroque Antique Rugs and Carpets

Materials

Silk, Wool

19th Century Kazak Handmade Wool Rug
Located in New York, NY
19th century Kazak handmade wool rug in red, yellow and blue Size: 4'4" × 7'9" (132 × 236 cm) A late 19th century Kazak rug with a beige field beneath a bold polychrome geometric tre...
Category

Late 19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

Bobyrug’s pretty antique kazak rug
Located in Saint Ouen, FR
Pretty late 19th century Caucasian kazak rug with beautiful geometrical and tribal design and nice natural colours with red, green, yellow and blue, entirely hand knotted with wool o...
Category

Late 19th Century Kazakhstani Kazak Antique Rugs and Carpets

Materials

Wool

5.6x8.8 Ft Antique Caucasian Armenian Kazak Rug, Ca 1900. Striking Natural Dyes
Located in Philadelphia, PA
An exquisite antique Caucasian Armenian Kazak rug with fantastic plant based natural dyes. Bold and powerful design with triple medallions and clear red field. Soft lustrous lambsw...
Category

Late 19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

Late 19th Century Caucasian Karabagh Paisley Carpet ( 3'10" x 6'9" - 117 x 206 )
Located in New York, NY
Late 19th Century Caucasian Karabagh Paisley Carpet 3'10" x 6'9" - 117 x 206
Category

1890s Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

Bobyrug’s Beautiful little antique shirvan daghistan rug
Located in Saint Ouen, FR
Pretty antique shirvan rug with beautiful design of daghistan shirvan rugs, entirely and finely hand knotted with wool on wool foundation. Wears and loses. ✨✨✨ "Experience the epit...
Category

Late 19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool

Early 20th Century Antique Red Caucasian Karabagh Carpet Runner
Located in Dallas, TX
53878 Antique Caucasian Karabagh Rug Runner, 03'09 x 14'01. Caucasian Karabagh rugs are traditional handwoven rugs originating from the historical region of Karabagh, located in pres...
Category

Early 20th Century Russian Kazak Rugs and Carpets

Materials

Wool

Vintage Oriental Rug Door Mat, Handmade Carpet Refurbished Rug Mat, Entrance Mat
Located in Hampshire, GB
Featuring a layered linear design woven with floral and geometric patterns in harmonious colorways including red, blue, pink and beige. Suitable for use in any doorway in your traditional or modern home. This semicircle entranceway doormat has been refurbished from a handmade vintage rug- cut from large area rugs to create these small doormats, with handwoven fringe detail. Handspun cotton and wool have been used in the construction of these mats, they are handwoven and so hard wearing perfect for use as a dust barrier in any doorway. Vintage Oriental rug door mat- handmade carpet refurbished rug mat- entrance mat...
Category

1960s Turkish Baroque Vintage Rugs and Carpets

Materials

Organic Material, Cotton, Wool

Bobyrug’s wonderful vintage Turkish shirvan design rug
Located in Saint Ouen, FR
Wonderful mid century Turkish rug with a design of a nice shirwan with beautiful natural colours . Entirely hand knotted with wool on wool foundation. ✨✨✨ "Experience the epitome of...
Category

Mid-20th Century Turkish Kazak Rugs and Carpets

Materials

Wool

Antique Caucasian Bordjalou Kazak Rug, circa 1870
Located in Philadelphia, PA
Antique Caucasian Bordjalou Kazak 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 washed...
Category

Late 19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool

Bobyrug’s pretty antique distressed Caucasian shirvan rug
Located in Saint Ouen, FR
Nice late 19th century Caucasian shirvan rug with beautiful geometrical and stylized design and nice natural colours, in a distressed condition, entirely hand knotted with wool on wo...
Category

Late 19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool

Zabihi Collection Long German Hooked Yellow Runner
Located in New York, NY
a rare early 20th Century German Hooked weave Long runner in predominantly yellow with a pattern seen in caucasian rugs rug no. 31769 size 2' 10" x 32' 7" (86 x 993 cm)
Category

20th Century Turkish Kazak Rugs and Carpets

Materials

Wool

Bobyrug’s pretty vintage little Caucasian design Sinkiang rug
Located in Saint Ouen, FR
Nice mid century Chinese Sinkiang rug with beautiful design in style of the antique Caucasian rugs and nice colours with a beautiful white field and purple, pink, blue, green on desi...
Category

Mid-20th Century Chinese Kazak Rugs and Carpets

Materials

Wool, Cotton

19th Century Caucasian Kazak Carpet ( 4'6" x 7' - 137 x 213 )
Located in New York, NY
19th Century Caucasian Kazak Carpet ( 4'6" x 7' - 137 x 213 )
Category

1890s Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

Unbelievable Early 20th Century Kazak Rug
Located in Chicago, IL
An unbelievable early 20th century Persian Kazak rug with two large geometric medallions, one yellow and one blue, with multiple "arms" radiating outward. The medallions live amidst ...
Category

1920s Russian Kazak Vintage Rugs and Carpets

Materials

Wool

Vintage Caucasian Seychour Handmade Wool Rug in Navy Blue With Tribal Motif
Located in Norwalk, CT
This Seychour wool rug is meticulously crafted by hand. The rug boasts a rich navy blue palette, adorned with delicate embellishments in varying shades of red, green, blue, and beige...
Category

Early 1900s Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

A Kazak Rug circa 1910
Located in Philadelphia, PA
A Kazak Rug circa 1910. Hand knotted, made of 100% wool yarn.
Category

1910s Kazak Vintage Rugs and Carpets

Materials

Wool

A Kazak Rug circa 1910
Located in Philadelphia, PA
A Kazak Rug circa 1910. Hand Knotted and made of 100% wool yarn.
Category

1910s Kazak Vintage Rugs and Carpets

Materials

Wool

Beautiful Antique Caucasian Shirvan Perepedil Rug
Located in Saint Ouen, FR
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.
Category

Late 19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool

A Kazak Rug circa 1920.
Located in Philadelphia, PA
A Kazak Rug circa 1920. Hand knotted, made of 100% wool yarn.
Category

1920s Kazak Vintage Rugs and Carpets

Materials

Wool

Antique French Tapestry Verdure Noblemen Royalty Verdure 5x9 158cm x 272cm 1920
Located in New York, NY
Antique French Tapestry Verdure Noblemen Royalty Verdure 5x9 158cm x 272cm 1920 A magnificent antique French tapestry depicting a scene of noblemen amongst incredible, exotic verdur...
Category

1920s French Baroque Vintage Rugs and Carpets

Materials

Wool

Gianni Versace Collection Rug Wild Barocco, Gold Leopard Animal Print, 1980
Located in Barcelona, Barcelona
Rug designed and manufactured by Atelier Versace Wild Barocco Measures: 220 x 220 In good original condition, with minor wear consistent with age and use A vintage Gianni Versace home...
Category

1980s Chinese Baroque Vintage Rugs and Carpets

Materials

Wool

Antique 19th Century Akstafa Runner Dated 1876
Located in San Francisco, CA
19th Century Akstafa runner dated 1876. All natural dyes, beautifully oxidized dark brown, good colors. Antique Caucasian rugs from the Shirvan district village of Akstafa are among ...
Category

Late 19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool

Zabihi Collection Vintage Turkish Tribal Caucasian Derived Square Accent Rug
Located in New York, NY
a late 20th century Turkish rug derived from early 20th century Caucasian rugs 4'5'' x 5'3''
Category

Late 20th Century Kazak Rugs and Carpets

Materials

Wool

Antique Karachov Kazak Rug
Located in Gainesville, VA
A stunning Karachov Kazak rug that originates from Russia in the 19th century. This rug has a rich history and is in excellent condition! The measurements are 4’9” by 6’’9”ft. Feel f...
Category

19th Century Russian Kazak Antique Rugs and Carpets

Materials

Wool, Cotton

Antique Caucasian Eagle Kazak Rug
Located in Gainesville, VA
Stunning Antique Caucasian Kazak eagle Rug with measurements of 4ft 5in width by 7ft 5in length. This rug is in excellent condition considering its rich history. Feel free to message...
Category

19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool, Cotton

Antique Fachralo Kazak Rug
Located in Gainesville, VA
A stunning Antique Fachralo Kazak rug that measures in at 4’6” by 5’2” ft. This Rug is in excellent condition considering its rich history. Feel free to message me in regards to this...
Category

19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool, Cotton

Antique Seychour Caucasian Rug
Located in Gainesville, VA
A stunning antique Seychour Caucasian rug that originates from Azerbaijan in the 19th century. This rug has a rich history and is in very good condition. Measurements are 3’5” by 6’4...
Category

19th Century Azerbaijani Kazak Antique Rugs and Carpets

Materials

Wool, Cotton

Antique Fachralo Kazak Rug
Located in Gainesville, VA
A stunning Antique Fachralo Kazak Rug that measures in at 3’9” by 4’8” ft. This rug is in excellent condition considering its rich history. Feel free to message me regarding this lis...
Category

19th Century Caucasian Kazak Antique Rugs and Carpets

Materials

Wool, Cotton

Bobyrug’s pretty antique distressed Kazak rug
Located in Saint Ouen, FR
Beautiful late 19th century Caucasian rug with beautiful geometrical design and nice natural colours, in a distressed condition, with important wears and some damages, entirely hand ...
Category

Late 19th Century Kazakhstani Kazak Antique Rugs and Carpets

Materials

Wool

Antique Handwoven Luxury Kazak Wool Red / Ivory Runner 4'4" x 9'
Located in Secaucus, NJ
An Antique Persian fine Kazak runner is a slender and captivating textile originating from the Kazak region in the Caucasus. Handwoven with premium wool and natural dyes, its bold ge...
Category

20th Century Persian Kazak Rugs and Carpets

Materials

Wool

Caucasian Kazak Rug Carpet, 10' 7" x 7' 7"
Located in New York, NY
Caucasian Kazak wool rug, with a repeating geometric motif of medallions. Dimensions: 10' 7" H x 7' 7" W. Dealer: S138XX
Category

20th Century Unknown Kazak Rugs and Carpets

Materials

Wool

Antique French Tapestry Verdure Signed 1880 Wool & Silk 5x7 153cm x 201cm
Located in New York, NY
Antique French Tapestry Verdure Signed 1880 Wool & Silk 5x7 153cm x 201cm A magnificent antique French tapestry depicting a castle amongst a river, verdure, and exotic birds. Beauti...
Category

1880s French Baroque Antique Rugs and Carpets

Materials

Wool

Antique and Vintage Rugs for Sale: Shop Turkish Rugs, Moroccan Rugs, Indian Rugs and Other Rugs on 1stDibs

Good antique rugs and vintage rugs have made their way into homes across the globe, becoming fixtures used for comfort, prayer and self-expression, so choosing the right area rug is officially a universal endeavor.

In modern usage, “carpet” typically denotes a wall-to-wall floor cushioning that is fixed to the floor. Rugs, on the other hand, are designed to cover a specific area and can easily be moved to new locations. However, the terms are interchangeable in many parts of the world, and, in the end, it won’t matter what you decide to call it.

It’s well known that a timeless Persian rug or vintage Turkish rug can warm any interior, but there are lots of other styles of antique rugs to choose from when you're endeavoring to introduce fresh colors and textures to a bedroom or living room.

Moroccan Berber rugs are not all about pattern. In fact, some of the most striking examples are nearly monochrome. But what these rugs lack in complexity, they make up for in brilliant color and subtle variation. Moroccan-style interiors can be mesmerizing — a sitting room of this type might feature a Moroccan rug, carved wooden screens and a tapestry hung behind the sofa.

Handwoven kilim rugs, known for their wealth of rich colors and unique weaving tradition, are pileless: Whereas the Beni Ourain rugs of Morocco can be described as dense with a thick surface or pile, an authentic kilim rug is thin and flat. (The term “kilim” is Turkish in origin, but this type of textile artistry is practiced all across the Balkans, throughout the Arab world and elsewhere.) 

When it comes to eye-catching floor coverings, the distinctive “medallion” pattern of Oushak rugs has two types of rounded shapes alternating against a rich red or blue background created with natural dyes, while the elaborate “star” pattern involves large eight-pointed shapes in diagonal rows alternating with diamonds.  

If you’re looking for something unexpected, find a runner rug that pops in your hallway or on your stairs. Dig for dazzling geometric patterns in our inventory of mid-century modern rugs and carpets, which includes works designed by the likes of Swedish textile masters Märta Måås-Fjetterström, Marianne Richter and other artisans. 

Carpets and rugs have been around for thousands of years. Prehistoric humans turned to animal skin, wool and fur to craft simple fabrics to soften hard terrain. A 2016 study suggests that "cave lions" were hunted for exactly this purpose, and that decorating your cave with their pelts may have conferred strength and prestige. Although many of these early textiles are still in existence, tracing their precise origins is difficult. Carpets quickly became such a valuable trade commodity that the weavings could easily travel far from their places of origin. 

The oldest known carpet was found in southern Siberia. (It may have traveled there from Persepolis in Iran.) For the flat-weave floor rugs crafted by Native Americans, cotton was the primary material before sheep’s wool was introduced in the 16th century. In Europe, carpet-making was fundamental to folk art, and Asian carpets imported to European countries were at one time considered a precious luxury and not intended to remain permanently on the floor. 

With the variety of area rugs and carpets rolled out for you on 1stDibs — a collection that includes traditional, modern, minimalist rugs and other coverings of all kinds — things will be looking up whenever you’re looking down. 

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