More Carpets

53198 New Neutral Plaid Tartan rug with ivy league style. Displaying a charming masculine appeal and the embodiment of ivy league style, this hand knotted w...

A basic rug, classic, practical, accessible... and now contemporary as well. Always in wool, reversible and obviously hand-made. Additional Information: Material: 100% wool Col...

The ‘Urbane’ collection is the epitome of sophistication and refinement, best suited for your home. Every piece in this range of contemporary and modern carpets is a testimony to Han...

The ‘Urbane’ collection is the epitome of sophistication and refinement, best suited for your home. Every piece in this range of contemporary and modern carpets is a testimony to Han...

The ‘Urbane’ collection is the epitome of sophistication and refinement, best suited for your home. Every piece in this range of contemporary and modern carpets is a testimony to Han...

"In the GraphX collection, the purpose of geometry of design is to reveal visual relationships, that have foundations in the essential qualities such as proportion and growth pattern...

"In the GraphX collection, the purpose of geometry of design is to reveal visual relationships, that have foundations in the essential qualities such as proportion and growth pattern...

"In the GraphX collection, the purpose of geometry of design is to reveal visual relationships, that have foundations in the essential qualities such as proportion and growth pattern...

"In the GraphX collection, the purpose of geometry of design is to reveal visual relationships, that have foundations in the essential qualities such as proportion and growth pattern...

Modern and casual runner rug. Neutrals, charcoal, gray, blue and brown diamond Afghan Modern Geometric design. Rug AFG-32075, country of origin / type: Afghanistan / Piled The uni...

This rug has been ethically handwoven in the finest wool yarns by artisans in north of India, using a traditional weaving technique which is native of this region. Each rug is handwo...

Café is a Luisa Olazábal's desing for Kilombo Home. This rug has been ethically handwoven in the finest wool yarns by artisans in north of India, using a traditional weaving techniq...

This rug has been ethically handwoven in the finest wool yarns by artisans in north of India, using a traditional weaving technique which is native of this region. Each rug is handwo...

This rug has been ethically hand woven in the finest wool yarns by artisans in north of India, using a traditional weaving technique which defines the design making small bubbles. Ea...

This rug has been ethically hand woven in polypropylene yarns by artisans in north of India, using a traditional weaving technique which is native of this region. It´s resistant to ...

It’s a playful hand-knotted rug made with Himalayan wool and natural silk, inspired by flora and organic shapes with vibrant colors and stylistic geometries that reflect artist’s ecl...

The Ndebele rugs are inspired by the culture of the African Ndebele people, known for their colorful facades. These are traditionally painted by women,...

BARI forms part of the WOOL collection of rugs made by GAN, GANDIABLASCO’s indoor brand, a collec- tion that appeals to our senses; of smell, of touch and sight. A sensorial celebrat...

A rug that is a hybrid carpet/tapestry RODAS forms part of the KILIM collection designed and manu- factured by GAN, GANDIABLASCO’s indoor brand, using the traditional weaving techniq...

Diamond is Charlotte Lancelot’s new collection of outdoor kilims for GAN, made from 100% recycled PET. The designer’s goal was to create a multi-faceted colored diamond, thanks to th...

Degrade is the latest contribution by Patricia Urquiola to GAN’s collection of hand-knotted rugs. Sober and elegant, these rugs play with color and intermediate tones, demonstrating ...

“Kids” is an ultra-natural contemporary rug designed by Deanna Comellini for G.T.DESIGN, Italian design company pioneer in the field of contemporary rugs since 1977. The weft of the...

Hand knotted in wool and lustrous silk, this modern runner from the New & Modern collection by Rug & Kilim marries a subtle, textural high-low pile technique with shifting gradients ...

The ‘Urbane’ collection is the epitome of sophistication and refinement, best suited for your home. Every piece in this range of contemporary and modern carpets is a testimony to Han...

21166 New contemporary Berber Moroccan Kilim Souf rug with Bohemian Style 10'02 x 12'09. With a strong sense of dimensionality and asymmetry, this hand-woven contemporary Berber Moro...

"In-Canto" is a modern expression of a luxury rug with a light yet seductive weave. Hand-made with top-quality fibers, this sophisticated yet understated design brings warmth and lightness to any space. "In-Canto" is the product of G.T.DESIGN’s extensive research in textile fibers, particularly in the use of viscose in rug design. The shimmering and soft properties of bamboo viscose are highlighted through a contemporary manual weaving technique developed through years of work with this yarn. Only 8 mm thick, the precious and magnetic rug shimmers in the light and provides an unparalleled tactile and visual experience while seamlessly blending in its surroundings. A trendsetter in the industry, "In-Canto" has inspired countless reproductions that could never quite achieve its high quality and stunning beauty. Creative Director Deanna Comellini designed "In-Canto" to be deliberately lightweight and plush, classic and contemporary. In the color Ecru, a warm gray tone inspired by the Italian Renaissance, "In-Canto" brings a minimalist touch and lightness to traditional interiors and softens and embellishes modern environments with a great versatility. Soft to the touch and bright to the eye, "In-Canto" is perfect for bedrooms and living-rooms: your first sensual experience as you step out of bed in the morning, the focus point between the sofa and the fireplace. "In-Canto" is a vegan and sustainable rug...

Measures: 10'2 x 13'9. Midnight blue and other shades of blue Contemporary Scandinavian design large rug with soft wool, feels great to the feet, This predominantly mid night blue ru...

"In-Canto" is a modern expression of a luxury rug with a light yet seductive weave. Hand-made with top-quality fibers, this sophisticated yet understated design brings warmth and lightness to any space. "In-Canto" is the product of G.T.DESIGN’s extensive research in textile fibers, particularly in the use of viscose in rug design. The shimmering and soft properties of bamboo viscose are highlighted through a contemporary manual weaving technique developed through years of work with this yarn. Only 8 mm thick, the precious and magnetic rug shimmers in the light and provides an unparalleled tactile and visual experience while seamlessly blending in its surroundings. A trendsetter in the industry, "In-Canto" has inspired countless reproductions that could never quite achieve its high quality and stunning beauty. Creative Director Deanna Comellini designed "In-Canto" to be deliberately lightweight and plush, classic and contemporary. In the color "Platino", a gray-silvery tone inspired by the Italian Renaissance, "In-Canto" brings a minimalist touch and lightness to traditional interiors and softens and embellishes modern environments with a great versatility. Soft to the touch and bright to the eye, "In-Canto" is perfect for bedrooms and living-rooms: your first sensual experience as you step out of bed in the morning, the focus point between the sofa and the fireplace. "In-Canto" is a vegan and sustainable rug...

A basic rug, classic, practical, accessible... and now contemporary as well. Always in wool, reversible and obviously hand-made. Additional Information: Material: 100% wool Col...

Ethereal, light and elegant, like a shower of flower petals in the land of the rising sun. Additional Information: Material: 100% wool. Tied...

The Mangas Space collection revealing her many facets. The same textures, the same comfort, now in a set of modules and rugs that create different spaces that are always warm and per...

The Mangas Space collection revealing her many facets. The same textures, the same comfort, now in a set of modules and rugs that create different spaces that are always warm and per...

The Mangas Space collection revealing her many facets. The same textures, the same comfort, now in a set of modules and rugs that create different spaces that are always warm and per...

A contemporary Turkish flatweave Kilim room size carpet handmade during the 21st century in shades of white and beige. This patchwork style rug consists of hand-weaving together seve...

This rug has been ethically handwoven in the finest wool yarns by artisans in north of India, using a traditional weaving technique which is native of this region. Each rug is handwo...

“Neri&Hu questions the sofa typology. Once the normal typology of a piece of furniture is broken down into its components, seating and rug become a single space. The back componen...

A vintage Turkish flat-weave Kilim room size carpet handmade during the mid-20th century. Measures: 10' 7" x 13' 7" Flat-weave rugs & carpets: Knotted pile rugs are just one small part of a vast universe of textile techniques suitable for heavy use. If you can imagine it, some weaver has tried it out. Pieces can be roughly divided into those reversible from the start and those never, or at least not initially, reversible. Thus, kilims are considered reversible, while everything else is not. Kilims are tapestry woven rugs with both sides the same, in either slit technique where colors change, or with various methods of avoiding slits. Slit tapestry weave goes back to ancient times and Coptic Egyptian weavers used it for ornaments on garments and larger wall hangings. Slits can be avoided by dovetailing of colors (warp sharing) or by interlocking the wefts. The Navajo weavers of the Southwest practice the first while the fine shawl weavers of Kashmir and Kerman employed the second. Interlocking produces a one-faced fabric, with smooth and rough, ridged faces. The typical Turkish, Caucasian, or Persian rustic kilim shows slits, but never long ones. Aubusson French carpets are also slit tapestries and the long color transitions are sewn up as part of the regular maintenance. Some kilims are very fine. The best antique urban Sehna (Senna) kilims on wool, cotton or silk warps approximate the comparable rugs in refinement and are the most desirable of all Persian kilims. Although the various flatweave techniques are usually expressed in geometric, simple, often repeating, patterns, Sehna kilims demonstrate that even the most intricate designs can be effectively rendered in flat-stich. The term ‘kilim’ has been extended to cover any pileless, weft-faced heavy textile. Thus, the sectioned and joined northeastern Persian horizontally striped wool rugs are called ‘kilims’. So are the plain-weave end finishes of pile rugs. All these are weft-faced, weft patterned flatweaves. These sectioned pieces are woven not on a frame loom, but one steadied by the weaver at one end and with the warps fastened down at the other. Only relatively recent have these tribal pieces become available. They are used as floorcoverings, hangings, room dividers, furniture covers. They are mostly bitonal in shades of natural dark brown and beige. Some more recent pieces show weaver innovations with ikat and moire effects. Work proceeds quickly and a skilled weaver can complete a thirty foot strip in almost no time. Wefts, the elements added as weaving progresses, play an essential part in what is a flatweave. The best-known example of an extra-weft, wrapping technique is on Caucasian and tribal Persian Soumaks, where a pattern weft wraps around the fixed warp, changing as weaving progresses. Soumaks can be large carpets, Kuba in the Caucasus, small bag faces (Caucasian and Persian Shah Savan saddle bags), or cover scatter rugs (Persian Afshars). The Soumak technique is fast, and a weaver can work much more quickly than tying knots. The left-over wefts are cut off on the back, so the front and back are initially different. As a Soumak on the floor gets used, these weft yarns wear away and the two sides converge although the exact texture remains distinct. There are other ways of pattern by weft. Often on smaller tribal pieces, the pattern weft(s) is (are) part of the weft structure, moving in an out, and holding the whole thing together. These wefts can be complementary or added (supplementary), continuous across the flatweave or cut off as they travel unneeded across the verso. Supplementary weft flatweaves are often very compact and substantial. The nomadic Turkmen and Balouch tribes employ both supplementary and complementary weft techniques on their pieces. Supplementary wefts are often raised on the recto (front) while complementary wefts are flat to the surface. Tribal Kurds employ this extra-wefting technique. The Balouch of Pakistan use complementary wefts almost exclusively on their small woven paraphernalia like salt bags. Flatweave techniques may be combined on a single piece. Afshar rugs employ plain-weave end strips, preceded by Soumak bands, with pile sections between. The large Bakhtiari saddlebags feature Soumak work, pile “islands” an areas of plain-weave. Qashqai rugs and kilims frequently displays checkerboard end strips in continuous, complementary wefting. Another distinct flatweave type is the jajim (jijim, cecim) in which a pattern is added with colored wefts as the weaving of the plain-weave ground progresses. Here the wefts are discontinuous and the pattern stands proud from the voided ground. Often made in two pieces on narrow looms and edge-sewn together, these may have geometric patterns. The term ‘jajim’ also refers to the assembled warp-faced strip and stripe covers from the Shah Savan of northwest Persia, the pattern is defined by warps alone, usually in plain stripes, but sometimes in designs of ladders, snakes, human figures and various animals. Here the color changing warps are continuous. Most are wool, a few are silk. Better to call these something else. Indian ‘Dhurries’ are all cotton kilims and ‘shatrangis’ employ wool wefts on cotton warps. Dhurries are slitless. The cotton texture is more appropriate to the humid and warm climate of the Indian subcontinent. Modern Dhurries...

This fine wool area rug has been woven by hand and features a fantastic geometric design. Woven in accents of brown beige and rust. Symmetrically woven with sophistication, this piec...

A vintage Turkish flat-weave Kilim room size carpet handmade during the mid-20th century in shades of white. Measures: 9' 1" x 13' 10" Flat-weave Rugs & Carpets: Knotted pile ...

The Mangas Space collection revealing her many facets. The same textures, the same comfort, now in a set of modules and rugs that create different spaces that are always warm and per...

“Neri&Hu questions the sofa typology. Once the normal typology of a piece of furniture is broken down into its components, seating and rug become a single space. The back componen...

Hand knotted in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a cotton weave, Himalayan wool, pure silk and linen coming from the areas surrounding the atelier. 125....

Hand knotted in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a cotton weave and Himalayan wool, coming from the areas surrounding the atelier. Created with a special technique used exclusively by cc-tapis. The sale of every rug supports cc-foreducation. Size: 7.5' x 9.8' ft. oldie Segni Minimi, which translated means “simple marks”, was originally a collection of drawings...

This rug is handmade in Spain using the hand tufted technique. We use only the finest natural yarns, 100% pure virgin wool with a thickness of 15mm. - Customize in any size and in ...

A modern Turkish flat-weave Kilim room size rug handmade during the 21st century with a colorful horizontal pattern. A statement piece with its bright and whimsical colors. Measur...

A vintage Turkish Anatolian small room size carpet handmade during the mid-20th century. Measures: 7' 1" x 10' 1".

High-Quality Contemporary Blue Flat-Weave Rug by Doris Leslie Blau Size: 14'0" × 20'0" (426 × 609 cm) The greatest beauty derives from simplicity and this flat-weave wool rug is all ...

Hand knotted in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a cotton weave, a Himalayan wool and bamboo silk, coming from the areas surrounding the atelier. 89.000...

Hand knotted in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a cotton weave, Himalayan wool and pure silk coming from the areas surrounding the atelier. 152.000 ind...

21336 Authentic Large Earthy Moroccan Rug, 11'09 x 13'01. Emanating simplicity and modern luxe style, this hand knotted wool Berber Moroccan rug provides a feeling of cozy contentmen...

This exclusive carpet will add a touch of subtle luxury to modern interiors, from living rooms to dining rooms. Remnants of frosted leather are minutely knitted together by hand to c...

A vintage Turkish flat-weave Kilim room size carpet handmade during the mid-20th century with a salt and pepper pattern in white-beige. Measures: 10' 2" x 13' 3" Flat-weave rug...

A vintage Turkish Anatolian rug in runner format handmade during the mid-20th century. Measures: 2' 7" x 7' 4" Turkish rugs & carpets: Until the Great Persian Carpet Revival in the later 19th century, the “Oriental rug” was Turkish. For nearly six centuries, Turkish rugs, both scatter, room size, and even larger, thoroughly dominated the European import market. Whereas the Persian carpet can be divided into urban, village, and tribal types, in Turkey and its predecessor the Ottoman Empire, rugs almost exclusively came from village weavers and from a small number of urban workshops. Ninety percent village, nine percent city, one percent tribal. Turkish weavers have, with very few exceptions, always worked with the symmetric (Turkish) knot. Wool foundations are standard practice among both town and village weavers. The exceptions, very finely woven 20th century and recent Herekeh silks from near Istanbul, and early 17th century Ottoman Court rugs from Bursa, constitute only a tiny part of the total. Always pricey, they appealed and still appeal to the clients who want lots of knots and perfect execution instead of individual personality. The urban workshops have been centered around the western Turkish city of Oushak and its attendant port town of Smyrna. Oushak weaves with the trends in fashion. When color saturated medallion carpets were needed, Oushak was ready in the 17th and 18th centuries. When coarse red and blue carpets were required, Oushak and Smyrna in the 19th century wove them by the boatload. When tastes changed again, and the European dealers in Smyrna wanted room size carpets with lighter and unusual colors, and with Persianate designs, production ramped up in nearby Oushak. Those antique, all-wool construction turn-of-the-century carpets are still in high demand with designers. Antique carpets with allover, roughly drawn patterns on grounds of shrimp, rust, straw, cream, pale blue, and pale and pea green, hitherto unavailable colors, are in such demand today that contemporary Oushaks have attempted to mimic them with soft palettes, extra-large scale drawing and coarse weaves. Oushaks woven for the Turkish market, for palaces, houses and mosques were often oversize with large, repeating medallions, all in shades of (Turkey) red, dark blue, light blue-teal, and ivory, with lemon and green accents. Turkey, along with India, invented standard sizes. By vertically repeating the medallion, one could get one medallion, one with two end halves, two, three, etc. medallions, up to thirty or so feet in length. The process spared making new cartoons for each length and allowed a quicker turnaround time. Oushak, from the time of 15th century “Holbein” rugs onward, has always been a commercial center. The prayer niche directional rug is primarily a Turkish development. In the towns and villages east of Oushak, in Ghiordes, Kula, Ladik, Kirsehir, Mucur and Konya, among others, arch pattern scatters with bright palettes and weaves varying from relatively fine to moderate were almost the entire production. Antique examples were particularly popular in America around 1900. Other centers of village weaving were situated on the western coast and adjacent islands with the town of Melas and neighboring villages weaving geometric prayer rugs and scatters with a characteristic khaki green and lots of yellow. The other large region was in the northwest of Anatolia, near ancient Troy, with the sizable town of Bergama at its center. The satellite towns of Ezine, Karakecilli, Yuntdag, and Canakkale all wove colorful scatters with moderate weaves in all wool with geometric designs and cheerful palettes. Near to Istanbul, these were among the first Turkish rugs to reach Europe in the Renaissance. The earliest Turkish pieces depicted in Italian Old Master paintings display the so-called “Memling gul”, an allover panel pattern with hooked and stepped elements within the reserves. This pattern continues for centuries in the Konya area and in the Caucasus as well. Turkey is a land of villages and much of the most interesting Turkish weaving comes from one undiscovered village or another. The Konya-Cappadocia region of central Turkey includes the active towns of Karapinar, Karaman, Obruk, Sizma, and Tashpinar, all weaving Konya-esque scatters and long rugs. Karapinar has been active the longest, since the 17th century. The mosques in and around Konya have preserved locally-made rugs from the fourteenth. In the 20th century, the extra-long pile, many wefted Tulu rug was devised, with limited palettes and color block patterns. These are not really antique Tulus, but they must be a product of long-standing village tradition. There are thousands upon thousands of rural Turkish villages, almost all with easy access to local tribal wool. Rug students are discovering new names and rug types almost daily. The common denominators are bright colors, geometric designs, wool construction, moderate to coarse weaves and symmetric knots. Synthetic dyes hit the Turkish rug industry quickly and hard after 1870, and they penetrated to even the most off-the-beaten-track villages. This development was almost entirely negative. The village weavers used fugitive or overly bright dyes which ruined the color harmonies built up over centuries. Characteristic types disappeared or were negatively transmuted. The Turkish village rug of the 1870 to 1920 period is nothing to be proud of. In the eastern provinces, the semi-nomadic Kurdish tribes, collectively called ‘Yuruks’, weave all wool, geometric pieces with medium to medium-coarse weaves, as well as kilims and other flatweaves. The rugs employ cochineal instead of madder for the reds, mustard yellows, greens, and various blues. They are under-collected like the Persian Afshars. Their rugs are in scatter and long rug formats. The far eastern Turkish town of Erzerum has a long tradition of idiosyncratic, semi-workshop rugs and further to the east is Kars with a tradition of rugs in the Caucasian Kazak manner. One Turkish specialty is the Yastiks or cushion cover, made in pairs for the public living rooms of village houses. These are larger rugs in miniature and good ones are highly collectible. Like other Turkish rustic weavings, ones with synthetic dyes are almost totally undesirable. Only the tribal Baluch make similar cushion covers, known as pushtis or balishts, in the same small, oblong format. Yastiks always have a back, usually in plain weave, so that they can be easily stuffed. When the Imperial Carpet Factory at Herekeh near Istanbul closed in the early 20th century, the highly proficient Armenian master weavers set up in the Kum Kapi district of Istanbul where they wove all-silk, exquisitely fine and elaborately detailed small pieces, sometimes enriched with metal thread, for the most discriminating European buyers. Today the best, signed Kum Kapi pieces, usually in the “Sultan’s head” prayer niche design, can fetch upwards of $100,000. They are strictly for the wall. An Interwar all-silk room size Kum Kapi carpet is both exceedingly rare and stratospherically priced. The workshops closed in the 1930s, but the weaving of extremely fine, all-silk small rugs in Herekeh was revived in the 1960s. There has been a recent vogue for larger Turkish village vintage...

A basic rug, classic, practical, accessible... and now contemporary as well. Always in wool, reversible and obviously hand-made. Additional information: Material: 100% wool Col...

A modern Patchwork style accent carpet handmade using vintage Turkish flat-weave Kilim rugs from the mid-20th century that have been overdyed red and stitched together. Measures: 5' 2" x 7' 2" Flat-weave rugs & carpets: Knotted pile rugs are just one small part of a vast universe of textile techniques suitable for heavy use. If you can imagine it, some weaver has tried it out. Pieces can be roughly divided into those reversible from the start and those never, or at least not initially, reversible. Thus, kilims are considered reversible, while everything else is not. Kilims are tapestry woven rugs with both sides the same, in either slit technique where colors change, or with various methods of avoiding slits. Slit tapestry weave goes back to ancient times and Coptic Egyptian...

"In-Canto Forte" is a modern expression of a luxury rug with a light yet seductive weave and an elegant striped motif. Made on artisanal looms with a modern manual weaving technique developed by G.T.DESIGN through years of textile research and experimentation, the collection combines the shimmering properties of top-quality viscose fiber and the resistant jute yarn. The plush weave captures the light giving an unparalleled tactile and visual experience while seamlessly blending in its surrounding. "In-Canto Forte" is only 8 mm thick, a lightweight yet highly resistant rug with a classic and contemporary design, bringing a minimalist touch and lightness to traditional interiors and softens and embellishes modern environments. "In-Canto Forte", in the color Rose, a dusty pink color, is a vegan and sustainable...

Degrade is the latest contribution by Patricia Urquiola to GAN’s collection of hand-knotted rugs. Sober and elegant, these rugs play with color and intermediate tones, demonstrating ...

“Neri&Hu questions the sofa typology. Once the normal typology of a piece of furniture is broken down into its components, seating and rug become a single space. The back componen...