Fabric Western European Rugs

'Hayon x Nani' Hand-Tufted runner by Jaime Hayon for Nanimarquina. Executed in 100% hand-tufted New Zealand wool. The 'Hayon x Nani' collection faithfull...

Small 'Hayon x Nani' Hand-Tufted Rug by Jaime Hayon for Nanimarquina. Executed in 100% hand-tufted New Zealand wool. The 'Hayon x Nani' collection faithfully encapsulates the whimsi...

Hand knotted in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a silk and Himalayan wool, coming from the areas surrounding the atelier. Created with a special techni...

Swedish, designed c.1930s Linen warp, wool and linen weft, mounted on an upholstered frame

Very beautiful 20th century Aubusson tapestry with a design of tapestries from 18th or 18th centuries, with the nature and with trees with bird and the river, a country house behind,...

This beautiful, beige-toned rug made from wool and artificial silk has been hand-tufted. Throw this rectangular rug into the floor of any home or office space for a bit of added eleg...

A Mid-Century Modern vintage handmade Swedish carpet in wool featuring a geometric pattern. This greenish colored Scandinavian rug is made and signed by MJ from 1950 and 1970 and thi...

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...

Research which began with the Slinkie Collection for cc-tapis, Pipeline is the translation of Urquiola’s digital artworks into an artisanal product. A series of connected tubes emerg...

This is a Vintage Old Bessarabian Kilim Rug from Moldova with a rare and beautiful color composition. Today it is a landlocked country in Eastern Europe, bordering Romania and Ukrai...

Antique French Tapestry Verdure Bird 110cmx163cm Green 4x6 C.1900 "This is an outstanding antique French tapestry in a fantastic Verdure and Bird Design- This magnificent wool piece...

Article: Original huge 1950s Rya rug Producer: Finnrya Oy AB, Finland This rug is a great example of 1950s pop art interior. Made in high quality finish Rya h...

A French tapestry from the end of the 17th century, incorporating verdure and rustic elements, with a romantic scene on the foreground of two young men pulling a young girl's swing. The scene takes place in a woodland environment, with trees in the foreground. Enclosed within a trompe l'oeil border, decorated with head flowers. Wool with silk inlay. Hanging: The tapestry comes ready for hanging, with linen backing and a strip of hook and loop tape at the top end, which can be connected to the opposite side of the supplied hook and loop tape, which could be tacked to your wall. For those who prefer the use of a tapestry rod, we can add the appropriate size loops to accommodate your needs. We now have a large selection of antique tapestry rods available as well, which we can provide detail upon request. Associated Words and Descriptions: accessory, antique, antiques, antique rug, antique carpet, antique tapestry, carpet, carpets, cleaning, classic oriental rugs, collectibles, collector items, collector piece, decor, decorative accessory, decorative item, decorative rug, decorator, design, designer, europe, european, farsh, fine, fine antique decorative rugs and carpets, floor covering, floral, geometric, ghali, hali, hand knotted, hand made, hand woven, home decor, home design, interior decor, interior decorator, interior design, interior designer, iran, iranian carpets...

Victor Vasarely (1906-1997). Panderlak,  circa 1983 Measures: 120 x 72 cm Hand signed and numbered on the back, edition of 320. Victor Vasarely, whose original name was Gyözö ...

Nice 1930´s French art deco rug with the inspiration of the name of the artist «Cransac » with a beautiful geometrical art deco design and pretty colours in the hues of sky blue, yel...

An early 20th Century Northwest Persian Conversational Animal Pictorial Runner. Details rug no. j2802 size 2' 7" x 12' 5" (79 x 378 cm)

18th.C Antique Flemish Tapestry Historical King Solomon Scene 7'x8' 196cm x 244cm 7x8 ft. 196cm x 244cm "This is a very fine high quality rare authentic Antique Flemish Tapestry ...

Marvelous small plush Swedish Rya rug from the Mid-20th Century Measures: 2'4” x 4' Swedish Rya rugs are extremely colorful, lovely and quite chic and each have their own character...

Wonderful pair of curtains from late 19th century, with a nice silk velvet tissue and a needlepoint band applied on it. Size of each piece is 105x295 cm ✨✨✨ "Experience the epitome o...

They do not come with inserts but bags made to the size to accommodate insert materials. Linen in the back Zipper closure Dry cleaning is recommended.

Rare Antique French Aubusson Octagonal Rug, Country of origin: France, Circa date: First quarter of 19th Century

Early 18th Century French Tapestry ( 4'9" x 8'6" - 144 x 260 cm )

Antique English Axminster Rug Size: 10'2" × 14'0" (309 × 426 cm) This exquisite Antique Axminster rug, woven in England around 1910, showcases the timeless elegance and craftsmanship...

A Höjer Eksport Wilton carpet, Denmark Named: "Symphony" Made in 100% wool 140*200 cm fine condition, some really slight decoloration. This carpet has been professionally clean...

Sothebys Antique Ukrainian Needlepoint Ukrainian Rug Handmade 10x13 298cm x 392cm 9'9" x 12'10" Circa 1900 "Super rare antique Ukrainian nee...

Article: high pile rya rug Origin: Denmark Producer: Hojer Eksport Wilton, Denmark Description: this rug is a great example of 60s pop art interior. made in high quali...

Beautiful mid century French Cogolin rug with a nice decorative and simple design, with a white pile of design on the orange foundation, hand made by wool on wool foundation Damage...

Nice 20th century French tapestry, in style of Aubusson tapestries, with a design of a medieval museum tapestry called « La Danse » ( The Danse) and beautiful colors, hand printed on...

Discover the elegance of modern French tapestry with the exquisite "Floride" (Florida) design by Jean Michel Lartigaud. This limited edition masterpiece, woven in vibrant shades of o...

Discover the vibrant artistry and luxurious texture of this wonderful and colorful Mid-Century Modern Rya Area Rug, a captivating piece designed to be a true centerpiece. Hand-knotted with its signature long shag pile, this rug embodies the innovative and expressive spirit of mid-20th-century design, drawing inspiration from traditional Scandinavian Rya techniques. This rug features an ultra-modern design with dynamic lines radiating out from a central field, creating a mesmerizing visual effect that perfectly captures the mid-century aesthetic. The main field is an exquisite blend of various beautiful shades of crimson and rich red, creating depth and warmth. This vibrant core is elegantly framed by a deep dark brown border, which provides a striking contrast and grounds the radiant design. Adding to its rich color story, subtle accents of soft lavender and delicate pink are woven throughout, enhancing the complexity and appeal of the radiating lines. The luxurious long shag pile offers unparalleled softness and a plush feel underfoot, inviting warmth and comfort into any space. Perfect as a captivating centerpiece for a room design on the floor, or as a bold and artistic wall tapestry, this Rya rug is an ideal acquisition for interior design professionals, home decorators, and individual customers seeking to infuse their space with authentic vintage charm, modern artistry, and a unique tactile experience. Its exceptional design and vibrant palette ensure it will be a cherished focal point. Dimensions: 36” x 63” Date of Manufacture: 3rd Quarter of the 1900s Place of Origin: Scandinavia Material: wool Condition: Wear consistent with age and use The Persian Knot Gallery, SKU: 2214 Mid Century Rya Rugs, Rya Rugs, Danish Modern Rugs...

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...

Elevate your space with this exquisite Aubusson-style tapestry featuring a romantic depiction of a loving couple in the countryside, nestled under a tree. Sheep graze nearby, and a g...

A collection that celebrates traditional Scandinavian women’s craftsmanship, inspired by Swedish folk traditions in a modern contemporary interpretation. With its patterns and techni...

An 18th century French Felletin chinoiserie mythological tapestry, size 11'6"H x 17'9"W. This grand mythological tapestry depicts a mythological forest scene, with various satyrs and other mythological figures reveling in Dionysian fashion in the confines of the woodland setting. Finely detailed, with nimble articulation of figures and form, the piece also incorporates chinoiserie motifs, with stylized trees and bushes that have Oriental styling. The lower right corner of the primary field features both the town mark and weaver's mark, as well as the French symbol of the fleur de lis. The tapestry is enclosed within an elaborate outer border, featuring pendant...

This 9x12 vintage Aubusson tapestry is a rare and special new curation from Rug & Kilim—a signed mid-century original by French artist Rene Perrot, handwoven in wool and originating ...

Beautiful antique-style Savonnerie hand-knotted wool rug with a beige and sage green color field. This piece has a designed brown frame and multicolor accents in a gorgeous medallion...

Authentic stand-alone pillow made from a 19th-century French Aubusson rug Measures: 16" x 16"

Antique French Art Deco Rug Size: 6'8" x 10'0" (203 × 304 cm) A brilliant expression of the modernist ethos, this circa 1930 French Art Deco rug showcases the architectural elegance ...

Concert Champêtre ( country concert ) Very beautiful mid century French Aubusson style tapestry with a beautiful 15th century tapestries design showing a scene in the countryside, ou...

A wavy and earth-toned pattern in opposite sections of this wool and artificial silk rug add a touch of color and elegance. A designer logo and cotton backing complete this beige rug...

Antique French Aubusson rug, circa 1890. Aubusson carpets are pile less and tapestry woven from that town to the southwest of Paris, by a group of independent weavers working under Royal or State protection. The designs are strictly classical, neoclassical or Victorian. They are virtually never “oriental”. The pattern wefts are wool with silk and/or metal thread for details in the more finely woven examples. Sizes tend toward the squarish and pieces 30’ by 30’ are not unknown. The 18th-19th century French clients included the nobility and haute bourgeoisie. Aubusson carpets were also exported to England and are often to be found in country houses. Light colors are the most popular and dark toned pieces are very rare. Besides traditional Louis furniture...

A harmonious amalgamation of artistry and nature, 'Winter Rose' by RAG Home is an abstract rendition that unveils the essence of a single rose blossom in December. Delicate shades of...

Very beautiful late 19th century tapestry with beautiful design of a hunter at the town, and beautiful golden colors, mechanical Jaquar manufacturing woven with wool and cotton. ✨✨✨...

78542 Antique French Tapestry with Dutch Pictorial Scene, 03'02 x 04'03. This captivating handwoven wool antique French tapestry depicts a charming Dutch pictorial scene, evoking the...

Danish carpet made by Ege Axminster A/S - Denmark for the 20th century masters carpet collection. label on back Licensed by: Van Gogh International B.V. in 1995 Design No. 80583 rug ...

The making of carpets in Portugal dates back to the Renaissance period using the braid stitch, embroidered on large hemp tea towels with the needle. The Portuguese carpet is called A...

Beautiful Antique French Charles X Savonnerie Rug , Country of Origin / Rug Type: French Rug, Circa Date: 1820. Size: 10 ft 5 in x 14 ft 1 in (3.17m x 4.29 m).

Tempore, Latin term denoting a temporary or provisional period. The starting point for the creative process of a collection of hand-knotted rugs made of Himalayan wool evoking a temp...

Rug in Napoleon III style, Aubusson factory - 2m70x3m70 - No. 1527 Period: 20th century Style: Napoleon III Condition: Perfect condition Material: Wool Length: 270 cm Width: 370 cm D...

7'10 x 9'9. This is a brand new hand knotted contemporary rug made from viscose and has the silky sheen that creates a wow in any room it is placed.

Nice mid century French Aubusson style Cogolin rug with beautiful floral design and nice colours , entirely hand knotted with wool on cotton foundation ✨✨✨ "Experience the epitome ...

Vintage French Aubusson flat weave wool rug with a tropical fruit and flowers motif with monkeys! No stains, holes, tears, etc. Slightly off plumb. Ready for use. 103" x 68" **FRE...

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

Bubbles is a multicoloured area rug entirely handmade in pure wool by artisan weavers, playfully using colour as if it is made of translucent paper. This natural wool area rug is a p...

Jaime Hayon 'Troupe' Rug for Nanimarquina. New, current production. 170 x 240cm. Crazy, dreamlike and with a sense of humor, resembling a party: such is Jaime Hayon's new collecti...

This 3x5 vintage Aubusson tapestry is a rare and special new curation from Rug & Kilim—a signed mid-century original by French artist Robert Debiève, entitled “La Forêt”, handwoven i...

A phenomenal Persian Mahal/Sultanabad Carpet woven by the Swiss firm, Ziegler & Co. What makes this rug outstanding is that its Predominantly green, 8'2'' x 10' In the late 1800s...

Late 19th century French Tapestry Measures: 7'10" x 8'6".

very beautiful Aubusson style tapestry, with a design of a medieval tapestry representing « deer chase» (poursuite du cerf), with Beautiful colours with green background, pink, yell...

Artist: Aubusson Manufactory, 19th Century Era: 19th Century Condition: Perfect Material: Wool Length: 255 cm Width: 335 cm Depth: 1 cm (with doubler) This magnificent rug, having b...