Continental Europe - Western European Rugs

The carpet collection Firenze is born from the collaboration between Sebastiano Tosi and Lapo Ciatti, inviting us to look higher and to be inebriated by beauty. In a game of mirrors ...

Small 'Shade' Hand-Loomed outdoor rug for Nanimarquina. The 'Shade' collection is inspired by magical moments in nature where colors melt elegantly into one another and speak for ...

Eclectic, bold and bright, the Trendy Shiny 70 V is the perfect solution if you are looking for a solid-colored rug with a big personality. It takes pride of place in the bedroom, li...

Kandinsky, Wassily (1866-1944) Tapestry “Small Worlds I”, tufted wool after a work from 1922, sign./dat., on verso with adhesive label “EGE AXMINISTER A...

Modern Ethnic Beige Rug Organic Irregular Stripes Pattern Red, Brown The Dill Rug brings a refreshing character between tradition and modernity to your space. An organic and irregul...

21th Century Minimal Sand Wool Rug Rectangular Modern Organic Black Lines Hydrus Rug is a modern organic rug inspired by the daring movement of wat...

As its name suggests, this superb rug is an explosion of light that seems to emanate from the center in a kaleidoscope of colors. Based on the eponymous 1987 painting by Futurist art...

Chasseurs endormi ( the sleeping hunter ) Very beautiful mid 20th century French Aubusson tapestry featuring a part of the famous painting of J.B Huet, titled « hunters rest ». With ...

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...

This circular vintage carpet in the shape of a flower was loom-woven with pure wool. The beauty of this decorative element lies in the very particular shape and in the different shad...

Add a piece of art history to your collection with this extraordinary handwoven wool rug, designed by the renowned Jean Rouzaud in the 1980s. Measuring 200 x 245 cm, this stunning pi...

'Collage 1966' rug by Eduardo Chillida for Nanimarquina. Born in 1924, Eduardo Chillida was a celebrated and prolific Spanish sculptor. He began his life work in Paris, but it wa...

Nice vintage French hand printed tapestry with beautiful medieval design and beautiful colors. Discover a stunning mid-20th-century tapestry, meticulously hand-printed on a cotton fo...

Lilac Giro Rug by Gandia Blasco Design by MUT Design Dimensions: W 132 x H 324 cm. Materials: 100% wool. Weight: 18,5 kg Passion for life outdoors, a dream come true on the edge of...

Very beautiful mid century tapestry with beautiful design of a museum tapestry and beautiful colors, entirely hand embroidered with needlepoint method ...

Large wool carpet featuring designs by the renowned fashion house Missoni, founded by Ottavio Missoni, for T&J Vestor, a company specializing in manufacturing for prominent fashion b...

Beautiful vintage French Aubusson style tapestry with a nice design of the nature with trees, vegetation and river, a water fountain with statues of angels. and further away, a house...

The esteemed Milanese architect and journalist Clara Bona unfurled a breathtaking dance of colours in her enthralling journey into rug design, partnering with the Alberto Levi Galler...

Italian modern rectangular rug with brown and orange geometric decorations 1970s Rectangular short pile rug. The rug is decorated with regular geometric shapes of different sizes tha...

In collaboration with renowned Scandinavian artist Evelina Kroon, Layered introduces a collection that explores the boundary between art and interior design. With references to tradi...

øjer Eksport Wilton was a Danish company known for high-quality, durable carpets with bold mid-century designs. Their wool rugs remain sought after for their craftsmanship and striki...

Residue Bone White Rug is a unique, big rug with one organic stripe that makes a difference in the height. With its structured wool and the high and low cut, Residue can be an art pi...

"Discover the timeless elegance of this exquisite antique French tapestry featuring a young woman in a medallion. Floral decoration around and a curtain in the shape of a valance abo...

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

Verner Panton 'Luna' Rug 120cm by Verpan. Current production. As well as adding a sculptural feature to a room, rugs also serve to emphasize and/or transform the dimensions of the s...

Discover the elegance of modern French tapestry with the exquisite design titled Dusk « Crépuscule » by « Gemmanick ». This limited edition masterpiece, screen printed by hand in the...

Beautiful vintage French Aubusson style tapestry with a nice design of the nature with trees, vegetation inside the wood, and with a river. and with beautiful colours, entirely woven...

Very beautiful antique Aubusson tapestry with a nice design featuring a medieval and gothic design featuring a garden with animals, with beautiful colours, with blue, green , brown, ...

A Flemish armorial tapestry. Late 16th century, possibly Spanish Woven in wools, depicting the arms of the Abbasid dynasty, combined with those of ...

This jute rug has been ethically hand woven in the finest jute yarns by artisans in Northern India, using a traditional weaving technique of this area. Each rug is handwoven with irr...

"Experience the timeless elegance of this exquisite fragment of an French Aubusson style tapestry, capturing the essence of a natural design , Woven on a Jacquard loom with wool. Ori...

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...

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...

Stunning French Art Deco handwoven rug made of wool Handcrafted in the 1930s this rug features a geometric design in De Stijl/Bauhaus style, with the colour palette consisting of ...

Contemporary Round Rug Geometric Pattern Brown, Dark Red, Black & White Designed to evoke a world of smooth elegance and deep intensity, the Tapis Fig Round Rug’s texture mimics the ...

Beautiful Aubusson style tapestry with nice design with a gallant scene and nice colors, mechanical Jaquar manufacturing with wool and cotton. Size: 100 x 140 cm.

Pretty vintage tapestry by Roga, with a nice design titled “concert champêtre” (country concert), showing three characters playing music, in the countryside, near a river, behind, we...

Custom hand knotted rug based on the painting “Composition VIII” by Bauhaus master painter Wassily Kandinsky. Rug size (listed here): 280 x 200 cm / 9.2 x 6.6 ft Material: fine wool. Quality: Tibetan handknotted in 150 knots per square inch. Very exact translation of the original artwork as a handknotted rug, created by weaving approx. 1.3 million knots per hand or the rug in the listed size. Approx. 230 000 handmade knots per square meter. Colors: 26 custom-dyed colors. Main colors in the rug: warm base in ivory cream and abstract composition in the main colours dark orchid purple, sky blue and steel blue, golden yellow, maroon brown and saddle brown, firebrick red and dark sea green. Sustainable and certified fair-trade artisanal production. Label Step fair-trade partners. This elegant, lively rug is made entirely by hand using traditional weaving techniques. Numbered limited edition of maximum 100 fine handmade rugs with this art piece. Each rug comes with a sewn-on label with an image of the artist’s signature and numbered by hand, per order. This beautiful rug can also be ordered in even more luxurious materials like pure silk or mohair, and in plant-based materials like Tencel and linen. A combination of materials is possible as well. Production time may increase for these options, depending on material availability. Production time for this rug is between is approximately 12-14 weeks. For environmental reasons and to provide our full bespoke service, our rugs are always made to order. -- About the artwork on which this rug is based: “Composition VIII”: Wassily Kandinsky created “Composition VIII” in 1923. The painting represents the Kandinsky’s transition from his Munich style of Expressionism to abstract geometric form and structure and is considered a peak in his work during that period. “Composition VIII” is characterized by the use of tools such as compasses and rulers to draw circular and parallel-linear geometric shapes. This technique was influenced by the Russian painter Alexander Mikhailovich Rodchenko...

Large four meter French Art Deco futurist hand woven wool rug with abstract art. Handcrafted in the 1930s this rug features a geometric design in Bauhaus style, with the color palet...

Lagos Rug is a stunning handwoven piece handwoven in Portugal from 100% recycled cotton. Its minimalist design and soft texture are perfect for adding warmth and style to any space. ...

Beautiful early 20th century large European rug with a design of the antique Turkish oushak rugs and nice colours with a red background and green, purple, brown, yellow and white, en...

S/28 - One of the first rug mats by G.T. Design, dating back to the late 1980s. Now in liquidation (its true cost of many years ago) because I'm closing activities.

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...

Very beautiful French tapestry with a design of a museum tapestry from 15th century and nice colors, mechanical Jaquar manufacturing woven with wool.

1980s Gorgeous rug by Missoni for T&J Vestor. Pure wool Made in Italy. In excellent condition like new. This rug is a true example of amazing Italian and has Missoni label. It has be...

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 ...

1980s Gorgeous rug by Missoni for T&J Vestor. Pure wool Made in Italy. In excellent condition like new. Signed at the bottom. This rug is a true example of amazing Italian design. Di...

Nice french Aubusson style tapestry with beautiful design of nature and town, and nice colors, woven by mechanical Jaquar manufacturing with wool and cotton. ✨✨✨ "Experience the epi...

Beautiful late 20th century handcrafted rug with a Savonnerie or Aubusson design and nice colors with blue, pink, purple, yellow and green, entirely handmade with tufted method with ...

"Experience the timeless elegance of this exquisite French Aubusson style tapestry, capturing the essence of a musical celebration amidst the countryside. Woven on a Jacquard loom wi...

Tapis Shaped #029 also known as Ray Rug is an avant-garde piece by HOMMÉS Studio x TAPIS Studio. Part of our Shaped Collection that is perfect for an irreverent interior look, from t...

Beautiful late 19th century needlepoint tapestry with nice design of the forest with vegetation and beautiful light colors with the hues of yellow, green, brown and white, entirely h...

Alice Crawley Bamboo Wool Rug is part of the design collaboration Alice Crawley x LAYERED. The rugs are made of 100% wool with a cut pile for a sharp and clean finish. The colors hav...

Contemporary Minimal White Round Rug with Organic Black Pattern The Coffee Round Rug is rich and captivating, exuding a deep, bewitching warmth that envelops your space in a comfort...

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...

Very pretty mid century french Aubusson tapestry with beautiful design of a flowerpot with nice colours in a black background. Entirely handwoven with wool and silk on cotton foundat...

Exquisite French needlepoint tapestry featuring a stunning garden design with birds and vibrant colors. Hand-embroidered using the needlepo...

Mano chrome rug by Jean-Charles de Castelbajac Dimensions: W 170 x H 240 cm Materials: wool Dimension customization is possible for bigger format only. Jean-Charles de Castelb...