Europe - Rugs and Carpets

Vintage Handmade Turkish Konya Kilim Rug This is a handmade vintage Turkish Konya Kilim rug from the 1960s, crafted from wool. As a traditional flatweave textile, it is a testament t...

Nice early 20th century rug with beautiful stylised floral design and nice natural colors, entirely hand knotted with wool velvet on cotton foundation. ✨✨✨ "Experience the epitome o...

Hand knotted "Sodad Low" 170, Florian Pretet and Lisa Mukhia Pretetv Made to Order Dimensions can be ordered Dimensions: 170 x 240 cm Materials: 85% wool 15% silk 100 knots/sq in Va...

A vintage, hand-woven Swedish Kilim is a must-have for anyone who appreciates beautiful craftsmanship. Beautiful colors, in warm shades of yellow, geometric cross design. Woven in ...

This handmade antique Persian Bakhtiari rug from the 1920s is a stunning example of Middle Eastern craftsmanship. Measuring 4.4 feet (134 cm) in width and 6.4 feet (194 cm) in length...

Introduce a touch of heritage and artistry to your living space with our Handmade Vintage Persian Hamadan Rug, a charming piece from the 1970s. This exquisite rug effortlessly embodi...

This is a silk- and metal-thread kum kapi prayer rug. It features a head design woven by Zareh Penyamin and bears the calligraphic signature mark of his in the metal thread at the ba...

Handmade antique collectible Afghan Baluch rug in tribal prayer design. The rug is from the middle of 20th century in original good condition. -condition: original good, -circa...

An unusually large antique Qashqai carpet, hand woven by the eponymous nomadic tribe circa 1920. The design features 3 small medallions on a terracotta field of stylised flowers and ...

A minimalist Berber runner originating from the Rehamna area, located in the plain of Marrakesh. In the 16th century this area was the site of a huge lake rich in fish, and the nearb...

A fantastically Swedish Rag Rug in beautiful color & pattern. Handwoven in Boden Northern Sweden . The rug is freshly washed. Vintage & antique Swedish Rag Rugs from Sweden comes in ...

Very pretty mid century French tapestry with nice galant design and beautiful colors, woven on the Jacquard looms woven with wool and cotton. ✨✨✨ "Experience the epitome of luxury a...

Eclypse carpet best expresses SpaceTime topic, proposed at Salone del Mobile 2022. Infinity moves its shape obtained thanks to Hancarving and Weaving techniques on two levels preciou...

Tulu rugs represent one of the earliest forms of nomadic pile weaving, typically knotted with a medium-high pile as they were meant as bedding rugs for the tent. Woven in the Karapin...

Beni MGuild large room size rug - Moroccan Berber Tribal rug Large Bauhaus inspired Moroccan Amazigh Modern rug North African tribal design - Djoharian Collection Berber rugs and ...

Mid-Century Hand-Knotted Hamadan Rug, Wool, 4.5' x 6.9' Exceptional Vintage Hamadan Rug (Middle East), Circa 1960s Bring a piece of rich textile history into your home with this stun...

Period: 19th century Condition: Excellent Material: Wool & Silk Dimensions: 470 x 113 cm This magnificent carpet, having undergone a deep cleaning and a meticulous inspection by our...

Very beautiful mid century Scandinavian modern rug with a nice design and beautiful colours, entirely hand woven by wool on cotton foundation. The designer name is not indicated but ...

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...

The Khotan Samarkand Superior Luxury Rug is a masterpiece of design and craftsmanship, hand-knotted from pure silk and premium wool. Designed in Lohr, Bavaria by the Djoharian Design...

"Discover the timeless elegance of this exquisite vintage French tapestry representing a 17th Century view of the ancient port of Venice in Italy. In a busy quayside scene, local tra...

Discover the elegance of this exquisite French tapestry featuring a charming scene of a fountain in nature among the trees which are surrounded by rivers. All this is surrounded by b...

Nice late 19th century Caucasian shirvan rug with beautiful geometrical and stylized designs and nice natural colours with dark brown field, orange, red, blue, and white, entirely an...

Dive into the cultural heritage of Native American art with this antique Yei wool rug, handmade in the 1910s. Measuring 2.1 ft x 3.4 ft (64 cm x 104 cm), this captivating piece featu...

Vintage Swedish Flat-Weave Rug Röllakan Geometric Design in Shades of Brown, Sweden 1980s. Genuine Röllakan made of wool, hand-woven, the soft sienna field features an outline geomet...

Dragon design rug wool and silk in style of Chinese Kansu carpets 5 x 3.3 ft. A beautiful contemporary dragon design rug, hand knotted using finest Chinese mulberry silk (80%) and...

Inspired by Mid-Century Modern Swedish carpets, this kilim is part of our contemporary collection of textured flat weaves where the material is employed in such a way as to create a ...

An exceptionally rare and elegant example of pre-1900 Persian artistry, this antique Sarouk rug (c. 1890s) is a masterful work, highly coveted for its sophisticated composition and e...

Very beautiful and antique Chinese embroidery with beautiful design with birds, dogs, symbols and scriptures, and with nice natural colours with a red brown background, entirely hand...

A masterpiece of Persian weaving, this antique Kashan prayer rug, crafted entirely from lustrous, fine-knotted 100% silk, is an item of exceptional beauty and religious significance....

This beautiful and highly collectible antique Persian Isfahan rug, hand-knotted in the 1930s, features the sacred and celebrated "Tree of Life" motif. The Isfahan region is renowned ...

Discover the timeless elegance of this early 20th-century Aubusson or Flanders tapestry featuring a captivating design of a shepherd with sheep. This tapestry depicts a pastoral sce...

Very fine Turkish pure silk Hereke prayer rug from the famous Ozipek workshop. Fine Hereke Silk Rug – Ozipek Workshop Signed 101 x 76 cm (3.31 x 2.49 ft / 39.8 x 29.9 in) Late 20th Century Origin: Hereke, Turkey Manufacture: Ozipek (Özipek) workshop Period: 4th quarter of the 20th century (circa 1975–1999) Signature: Yes, signed in cartouche Condition: Excellent, collectible condition This exquisite Hereke silk rug, handwoven in the famous weaving town of Hereke, Turkey, is a masterclass in elegance, symmetry, and artistic finesse. Measuring 101 x 76 cm (3.31 x 2.49 ft / 39.8 x 29.9 in), it is a signed work from the renowned Ozipek (Özipek) workshop, one of the most respected names in modern Hereke silk weaving. Historical Background – Hereke & Imperial Ties: The town of Hereke, located near Istanbul, rose to prominence in the mid-19th century when Sultan Abdulmecid I founded the Imperial Hereke Weaving Factory in 1843. The goal was to produce the finest carpets for the Ottoman palaces, using silk, wool, and gold threads. These carpets were not only for domestic splendor but also served as diplomatic gifts. In the late 19th century, Hereke carpets gained recognition across Europe — especially in Germany, where Kaiser Wilhelm II became an admirer. On his visits to the Ottoman Empire, the Kaiser received several Hereke rugs as official gifts and reportedly commissioned carpets for his palaces, including Neues Palais in Potsdam. This cross-cultural appreciation helped cement Hereke’s reputation as a producer of imperial-quality rugs. Ozipek Workshop: The Ozipek workshop (sometimes spelled Özipek), active from the mid-20th century onward, continued the Hereke tradition of ultra-fine silk weaving. They are known for their high knot density, refined drawing, and classical Ottoman-Persian motifs. Rugs from this workshop are often signed, as seen in this piece, and are highly valued by collectors. Design & Pattern: This Hereke silk rug features a classic central medallion surrounded by an elegant arrangement of floral motifs, birds and delicate arabesques, creating a perfect symmetry. The field is richly detailed with scrolling vines, lotus blossoms, and stylized palmettes. The border is framed by narrow guard bands with complementary floral accents, enhancing the refined structure of the composition. This type of design reflects a synthesis of Persian Safavid influence and Ottoman decorative aesthetics, which is typical of elite Hereke production. Dominant Colors (Pantone Approximation): Royal Red – Pantone 7621 C (Main field and floral accents) Champagne Gold – Pantone 7506 C (Medallion and border highlights) Midnight Navy – Pantone 2766 C (Outlines and field contrast) Ivory Silk – Pantone 7527 C (Background and border fill) Technical Details: Material: 100% natural silk (warp, weft, and pile) Technique: Hand-knotted (double knot / Turkish knot) Knot Density: Exceptionally fine – often 1,000,000+ knots/m² (up to 654 knots/in²) Use: Collector's item, wall hanging, or luxury décor Signed: Yes, within the border This signed Hereke silk rug by Ozipek is not merely a decorative piece but a testament to imperial textile heritage, offering a tangible connection to the grandeur of the Ottoman court and its European patrons. Its fine craftsmanship, intricate design, and luxurious silk composition make it a sought-after treasure for connoisseurs of fine textiles and classical Turkish weaving. Production method: Hand-knotted Shape: Rectangular Colors: brown-red, gold, beige, black Pile height: approx. 2 – 3 mm Knot density: per m² 1,000,000, kpsi 654 inch² A+ export quality Made in Hereke, Türkiye by the Özipek workshop Usage: Tapestry, Floor Carpet Sustainable: Yes, from natural products Fair Trade: Yes, Label Step Fair Trade Carpets, no child labor, ecologically compatible production. We are Label Step Fair Trade Partners. Hereke silk carpets have always been among the exquisite works of art in carpet production. Its origins go back to the Ottoman Sultan Abdülmecid I, who founded the Hereke Imperial Manufactory to produce all the textiles for his Dolmabahçe Palace on the Bosphorus. Due to the friendship between the German Empire and the Ottoman Empire, there were plenty of contacts between the oriental art of weaving and European customers. As is well known, a particularly great admirer of Hereke carpets was Kaiser Wilhelm II, who brought an impressive collection of exquisite carpets from Hereke with him in 1894. In the 20th century Hereke has developed into the most important production site for exquisite silk carpets. Floral carpets and prayer rugs in sizes 90 x 60 cm, 120 x 80 cm, 150 x 100 cm and 200 x 130 cm are common. Larger carpets are also available, but due to their high price these are much rarer. Simple qualities in wool on cotton warp start with a knot density of approx. 300,000 knots per m², particularly fine pieces reach fineness of over 4,000,000 knots per m². A floral drawing or floral repeat is typical. Well-known weaving masters or manufacturers are Ozipek, Derin, Han Hali. Turkish Hereke silk rugs are the most exclusive and highly priced rugs of all silk rugs...

Size 235 cm. x 170 cm. This abstract and vibrant rug design has a beige and black frame enclosing a richly colored central pattern. The central part features irregular shapes with sh...

Wonderful modern design silk rug with beautiful abstract design and nice colors, entirely and finely hand knotted with silk velvet on cotton foundation.

"Discover the timeless elegance of this exquisite vintage French tapestry featuring a galant scene. Elevate your space with the charm of this beautifully crafted and woven tapestry,...

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

very beautiful French Aubusson style tapestry, with a design of a medieval tapestries. This tapestry has been made in the renowned “La Filandière” manufacturing Beautiful colours w...

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

Custom hand knotted rug based on the painting “Composition C XII” by László Moholy-Nagy. Material: fine New Zealand wool. Quality: Hand knotted in 100 Tibetan knots per square inc...

This exquisite mid-century modern rya rug, crafted by a skilled Swedish textile artist in the 1960s, embodies the artistry and quality of Scandinavian design. Handmade from premium “...

Explore the iconic aesthetic of the 1980s with this postmodern Italian rug by Missoni, an authentic expression of the boldest and most creative interior design of the 20th century. M...

Antique Tekke Turkmen rug of fine weave and small square size Circa 1900 These rugs are considered to be ‘dowry’ weavings used by the Turkmen bride on her wedding day This example ...

Rug From The Aubusson Manufactory, Napoleon III Period: 19th century Condition: Perfect condition Material: Wool This magnificent carpet, having benefited from a deep cleaning ...

Tacheh are wool saddle bags employed by the nomadic people of the Bakhtiari tribe. These were principally used for the storage and transport of wheat. This complete, opened example a...

This hand-woven oriental Bokhara rug was made in Pakistan during the 1960s. Woven in the traditional way – flat technique, with the addition of cashmere and natural dyed in shades of...

A rare and elegant Tibetan rug in the khaden format distinguished by a snow white background decorated by an infinite repeat of parallel and offset rows of black stepped diamonds...

Persian Rug Vintage Distressed circa 1940 A beautiful Persian Vintage rug with ivory, olive green and light blue/ teal dots. Suitable for decorating both modern and classic environme...

Marion V. Dorn (1896-1964) was originally trained as a painter and this led her to develop her skills as a textile designer. During her formative years she worked in Paris and New Yo...

Handmade Carpet Caucasian runner rug unique and vintage rugs carpet runner is primarily produced as city productions pieces. Made from mat...

Medium hand knotted "Ricky" rug, Florian Pretet and Lisa Mukhia Pretet Dimensions: 170 x 240 cm Materials: 90% Himalayan wool, 10% silk Hand knot...

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Authentic Tribal Legacy: Antique Handmade Persian Kurdish Rug Uncover the rich history and bold artistry of this handmade antique Persian Kurdish rug, a truly unique piece woven from...

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Ottavio Missoni carpet with geometric design inspired by the chevron pattern, very characteristic of his style. Carpet from the 1980s made of wool by the T & J Vestor company. Chevr...

Handmade vintage Erevan rug from Armenia in navy blue color. The rug is from the end of 20th century in original good condition. -condition: original good, -circa: 1960s, -s...

Nice mid century Polish tapestry with beautiful design with stylized birds and a orange field color, entirely hand woven with wool on cotton foundation...

Mid-Century Modern Round Graphic Rug, 1970s

Very pretty antique french Aubusson style tapestry with beautiful design from the nature with an eagle. Woven on Jacquard loom with wool and cotton. ✨✨✨ "Experience the epitome of lu...

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...