Wool Western European Rugs

A rare, stunning identical pair of period antique French Art Deco rugs, decorated at both ends by abstract diagonal motifs in two tones of brown against an ivory background. Both are embellished on the lower right corner by the artist's monogram (HG), which we haven't identified. Rugs of this type were commissioned during the Art Deco era to architects/designers, and were often part of an elaborate interior decoration project. It's quite a unique chance in the world of rugs to be able to source an intact pair of such weavings. The natural earth tones of these examples offer a great opportunity to own a pair of Art...

No.02 Rug by Cappelen Dimyr Dimensions: D220 x H280 Materials: 85% wool 15% cotton no.02 is a decorative hand-knotted rug in natural wool. The soft irregular pattern creates a v...

An interesting contemporary Kilim, inspired by Mid-Century Modern pieces of the 20th Century - it features a series of irregular bands creatively repeated across the field in a range...

This brown beige and yellow Space age wool rug has been designed and produced in Netherlands by Desso in the 1970s. Charming colours and very decorative flower design carpet...

Ingegerd Silow is considered to be one of the most influential figures in Swedish carpet making and for a good reason. Not only was she a talented weaver, but also a great lover of l...

Cogolin (France) Hand-knotted carpet from the 1950s. Rare size, 130 x 100 excellent condition. Founded in 1928 by Jean Lauer, Manufacture Cogolin ...

The Candy Heart Rug is a durable and sweet rug that fits any nursery or kids room. This super soft rug made of 100% New Zealand wool is hand-tufted and hand carved by artisans in Ind...

Alice Walläck is a famous designer fot Rölakan, Sweden.

Rare hand-knotted Cogolin carpet (France). 1950s. Founded in 1928 by Jean Lauer, the Manufacture Cogolin experienced significant growth from the 19...

An antique French very large Aubusson style rug offers floral central medallion on cream ground with a floral spray and border having scroll and foliate decoration, palette in rose, gold and pastels, circa approx 1930 to 1950 A beautiful very large rug...

Rug ‘Rosenhäck’ designed by Judith Johansson, Sweden, 1960s

Introducing our Handmade Vintage Romanian Bessarabian Kilim Rug, a striking piece that effortlessly combines tradition and beauty. Specifications: Size: 5.7' x 6.7' Origin: Romania...

This fantastic area rug has been handwoven with a beautiful, symmetrical floral design woven on an ivory blue background with cream, pink, green and ivory accents. This elegant piece...

Introducing our Handmade Vintage Romanian Bessarabian Kilim Rug, a unique piece of art for your living space. Specifications: Size: 6.4' x 9.5' Origin: Romania Era: 1960s Condition...

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...

Cloud Blue Squiggle Rug by Okej, an iconic irregular rug shape featuring a thick vibrant blue wool surface. Size: 5 x 6 ft (150 x 180 cm) Material: ...

Italian modern black wool rectangular carpet by Missoni, 1990s Rectangular rug in pure virgin wool fabric. The carpet profiles are in black. The interiors are characterized by a seri...

Leggerezza e calore sono il segno dominante di questa collezione di tappeti in lana che uniscono la tecnologia e il più alto artigianato italiano. Completamente dipinti a mano su ent...

"Fluid" è un tappeto altamente performante scolpito a mano e progettato dalla designer Deanna Comellini, fondatrice e direttrice artistica del brand italiano G.T.DESIGN, pioniere nel...

This fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on an ivory beige background with cream green and ivory accents. Both the color and design...

Beautiful French Hallway Rug from the mid-20th century. This rug is a masterpiece, meticulously knotted with wool on a cotton and jute foundation. It features a stunning Persian desi...

This fantastic area rug has a beautiful botanical and floral design woven on an ivory, green, and blue background with cream-green and ivory accents. This elegant piece's colour and ...

A hand-knotted deep pile wool rug, this piece stands out for the exquisite craftsmanship of its fine wool and the harmonious blend of captivating materials and shades. It exudes a ti...

Beautiful French Rug from the mid-20th century. This rug is a masterpiece, meticulously knotted with wool on a cotton and jute foundation. It features a stunning Persian design inspi...

The Italian Textile is a remarkable piece that showcases the elegance and craftsmanship synonymous with Italian design. This textile embodies the rich cultural heritage and artistic ...

A stunning and lengthy wool runner from 1960s Greece, with an overall shade of pinky red. Can be used as a long runner in a corridor, as a throw over the back of a sofa, or even as a...

Wool tapestry by Renata Bonfanti. Remarkable combination of shapes and color shades

Very special Tian Druck ( dragon in Butanese) rug hand knotted by the skilled hands of artisans in Lahore, Punjiab. It is made entirely from pure Ghazni wool with a mix of colors des...

The artists who were active during the first decades of the 20th Century very much availed themselves of the inspiration offered by nature. Colourful flowers have been a favoured dec...

Very special Tian Druck ( dragon in Butanese) rug hand knotted by the skilled hands of artisans in Lahore, Punjiab. It is made entirely from pure Ghazni wool with a mix of colors des...

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...

Winter Pearls in a series created specially for OWN. This is the larger size version. They depicture abtract memories of joy. Of light, touch, taste and s...

A handmade wool rug in black and brown, with both stripes and geometric designs. This rug has an eye catching pattern in reds, yellows, blues and greens and although it has the vinta...

Enhance the elegance of your living space with this Handmade Vintage French Aubusson Rug. Crafted in the 1970s, this exquisite rug measures 2.4' x 4.7', making it a perfect addition ...

Aubusson rug with petit point 19th century - N°902 Close to the Eiffel Tower, We are a family business specialized in the purchase, sale and expertise of tapestries, carpets, kilims...

Elevate your living space with the timeless beauty of this Handmade Vintage French Aubusson Rug. Crafted in the 1970s, this rug measures a generous 8' x 10', making it the perfect ad...

Magnificent artifact from a 1940 drawing by Paul Klee, made exclusively for Elio Palmisano's Milan atelier in 1975. Performed in a limited edition of 9 pieces The asymmetric polygon...

Forget me not garden , is a wool landscape for your floor. A lush spring garden with fresh grass and newly srung flowers. It features 2 pillow hilld incorporated in the rug, to rest your head or feet on. A soft spot to bring nature and sunshine to you all year round. Alfhild Kulper, a Swedish artist and designer, aiming to create physical representations of the soft spots in our minds. I graduated from Central Saint Martins University of the Arts London 10 years ago. And have since lived in the Netherlands, working as a fashion designer for the dutch brand Viktor & Rolf. In 2019 I started making textile art under the name Alfie’s Fuzzy Friends...

Handcrafted chain-stitch tapestry with pure wool yarns on cotton canvas. Produced thanks to the willingness of Giacomo Balla's daughters, Luce and Elica, who showed Elio Palmisano d...

This fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on an ivory blue background with cream green and ivory accents. This elegant piece's colou...

A cute and charming kids rug shaped like a shell. The Shell Rug is a durable hand-tufted rug that is made from 100% New Zealand wool. The perfect finishing touch for any nursery or p...

Leggerezza e calore sono il segno dominante di questa collezione di tappeti in lana che uniscono la tecnologia e il più alto artigianato italiano. Completamente dipinti a mano su ent...

Leggerezza e calore sono il segno dominante di questa collezione di tappeti in lana che uniscono la tecnologia e il più alto artigianato italiano. Completamente dipinti a mano su ent...

Italian modern blue wool rectangular carpet by Missoni, 1990s Rectangular carpet in pure virgin wool fabric. The profiles of the rug are in bright blue, the interiors are thin stripe...

Leggerezza e calore sono il segno dominante di questa collezione di tappeti in lana che uniscono la tecnologia e il più alto artigianato italiano. Completamente dipinti a mano su entrambi i lati, uniscono la durevolezza delle lane all’unicità delle colorazioni, che rendono ogni elemento un pezzo unico e irripetibile. "Luoghi" è una collezione di tappeti lievi che si ispirano alle superfici consumate dal tempo, portando un elemento di memoria nei progetti d’interni più sofisticati. Le cuciture manuali e la modularità dei singoli elementi aiutano il progettista a dare forma a questi dipinti tessili, che uniscono eleganza e praticità e portano atmosfere uniche negli ambienti che li accolgono. Morbidi e resistenti, questi tappeti personalizzabili anche su grandi dimensioni sono ideali per offrire protezione e sollievo dalle pavimentazioni “dure” in pietra, cemento e laterizio. Abbinati ad uno speciale materassino antiscivolo che ne aumenta il comfort e la piacevolezza al tatto, trovano l’abbinamento ideale nelle zone notte e living di grandi e piccole dimensioni. Nel colore Mix 6...

This fantastic area rug has been handwoven with a beautiful symmetrical floral design woven on an ivory blue background with cream green and ivory accents. This elegant piece's colou...

This fantastic area runner rug has been handwoven with a beautiful symmetrical floral design woven on an ivory beige green background with cream green and ivory accents. This elegant...

Enhance your living space with the timeless elegance of this Handmade Vintage French Aubusson Rug. This exquisite piece, dating back to the 1970s, showcases the artistry of tradition...

For over 150 years Kinnasand has crafted subtle and refined Nordic inspired designs for curtains and rugs. Since 2012 has been part of the KVADRAT Group. These carpet samples are now...

Transform your living space with the grace of this Handmade Vintage French Aubusson Rug. Crafted in the 1970s, it encapsulates the timeless charm of French design, enriching any room...

Elevate your living space with the timeless charm of this Handmade Vintage French Aubusson Rug. Crafted in the 1970s, this rug epitomizes classic design and adds a touch of elegance ...

"Satellit, blå" flatweave rug, designed by architects Claesson Koivisto Rune in 2006. Executed the same year at Märta Måås-Fjetterström AB in Båstad, Sweden, by artisan weaver Monica...

Elevate your living space with the timeless elegance of this Vintage 1970s Handmade French Aubusson Flatweave Rug. This masterpiece, measuring 9.9' x 14.2' (302 x 433 cm), embodies t...

This fantastic area rug has been handwoven with a beautiful, symmetrical floral design woven on an ivory background with cream green and ivory accents. This elegant piece's colour an...

Elevate your space with the timeless elegance of this Handmade Vintage French Aubusson Rug. Crafted with meticulous artistry, it encapsulates the essence of French design and craftsm...

A soft spot for wall or floor. Abstract memories of nature. What will we bring to build our new world. Full of possibilites, where we can live with soft marble, warm snow and floors of clouds. Sold as rug, but can on request come with hanging system. Hand tufted and embroidered wool. The layers of different heights are sculpted to create a lush textured lanscape. The rug has a rich cotton back- Hand tufted and embroidered wool. The layers of different heights are sculpted to create a lush textured lanscape. The rug has a rich cotton back- ing and is finished with a hand applied embroidery stitch. The wool yarns are collected factory leftovers from The Netherlands, India and Nepal. Depend- ing on avaliablitiy of yarns small color variations can appear.   My name is Alfhild Kulper. I am a Swedish artist and designer, aiming to create physical representations of the soft spots in our minds. I graduated from Central Saint Martins University of the Arts London 10 years ago. And have since lived in the Netherlands, working as a fashion designer for the dutch brand Viktor & Rolf. In 2019 I started making textile art under the name Alfie’s Fuzzy Friends...

This Vintage 1970s Handmade French Aubusson Flatweave Rug is a testament to the enduring beauty of traditional French design. Measuring 7.9' x 9.8' (243 x 300 cm), this rug is a true...

This exquisite handmade vintage French Aubusson rug from the 1980s is a true work of art. Measuring 8.9 feet by 12 feet (272cm x 366cm), it features a stunning design that is sure to...