Style
Ottoman
Every piece in this style, across all of our collections. Narrow them down by size and price.
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- Runners
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- 8 x 10
- 9 x 12
- 10 x 14
- 12 x 15
- Over 12 x 15
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Stories from the Ottoman Archive
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
A Guide to Bessarabian Rugs: History, Design, and Modern Luxury
Within the world of collectible textiles and luxury interiors, few rug traditions possess the quiet sophistication and painterly elegance of Bessarabian rugs. Emerging from the historic region of Bessarabia—an area historically situated between present-day Moldova, Romania, and Ukraine—these rugs occupy a unique position at the crossroads of Eastern European folk tradition, Ottoman influence, Russian imperial culture, and French decorative aesthetics. Unlike the geometric tribal weavings commonly associated with Central Asia or the medallion-driven structures of Persian carpets, Bessarabian rugs developed a distinctly atmospheric and ornamental visual language. Their floral compositions, subdued tonal harmonies, and expansive decorative fields positioned them closer to European decorative arts than purely utilitarian floor coverings.
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The Complete Guide to Oushak Rugs: History, Aesthetic Language, and Contemporary Design Use
Oushak rugs, also spelled Uşak or Ushak, stand among the most influential textile traditions in the history of interior design. Originating in western Anatolia, in the historic weaving town of Uşak in present-day Turkey, these carpets are not merely decorative artifacts; they are architectural design elements, cultural documents, and artistic statements that have shaped interior aesthetics across centuries. From Ottoman imperial courts to Renaissance European palaces and today’s luxury residential, hospitality, and gallery spaces, Oushak rugs continue to define a visual language of soft geometry, spacious design, muted tonal harmony, and painterly abstraction. Their enduring relevance places them at the intersection of art history, textile heritage, and contemporary interior design innovation.
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The Evolution of Floral Motifs in Antique Rugs and Kilims: Mapping the Pomegranate, Tulip, and Carnation
Antique 17th Century French Beauvais Tapestry with Floral Vase - Rug & Kilim, NO. 36829 We had a tapestry acquisition unfolding itself in the studio a while ago. Josh and the team just stood there, silently admiring the way the light caught the threads. This was the Antique French Beauvais Tapestry (SKU 36829). It was handwoven in wool, with natural silk accents, circa 1700. When you look at something like that, you do not just see fabric. What you see is the garden of wool and dreams. The precise interlacing of the wefts gives a picture of a gigantic floral vase placed atop an architectural entablature. The botanical imagery is absolutely mesmerizing. There is so much wealth and mystery to it all.
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Leo and Greti Wollner and the Vienna Carpet Inheritance
There is a particular authority that attaches to an object when one can trace its maker's hand, teacher by teacher, back to a single revolutionary moment, and in the case of Leo and Gretl Wollner, that moment is the Wiener Werkstätte. To own a Wollner carpet is to hold the last living end of a thread that runs directly to Josef Hoffmann, to Koloman Moser, to the Vienna of 1903 that resolved, against the whole weight of European convention, that there should be no hierarchy dividing the fine arts from the applied ones. A painting and a carpet were to be judged by the same measure. A century later, the Wollners are among the very last to have been taught that creed by the people who founded it.
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Zeki Müren and the Carpet as Self-Portrait: The Pasha Who Designed His Own Floor
In the showroom of Hüseyin Kaplan, in the Sultanahmet quarter of Istanbul beneath the minarets of the old city, there are more than five hundred carpets that belong to no classical category. They are not Hereke, not Oushak, not the courtly Ottoman medallion weavings that the connoisseur expects from this geography. They are jewel-toned and abstract, shot through with an abstract confidence, and they bear, some of them, the signed ones, a name woven into the border that any Turk and most serious collectors would recognise instantly. They are the work of Zeki Müren, and they constitute one of the most singular bodies of design the twentieth-century carpet has produced.
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Bessarabian Rugs and Kilims: A European Textile Tradition at the Crossroads of Art, Empire and Design
In a quietly elegant London dining room, a vintage Bessarabian Kilim unfolds beneath the table like an unexpected conversation. Its geometry—subtle yet assertive—draws the eye before one quite realizes why. Inspired by the visual language of early twentieth-century design, the rug nods gently toward the stylized symmetry of Art Deco while remaining unmistakably rooted in a much older European weaving lineage. The effect is a foundation that feels both deliberate and effortless, an object whose presence quietly animates the room. Those who spend time studying interiors often admit a particular fondness for photographs that capture rooms in use rather than in perfection. The slight shift of a chair, the shadow of evening light on polished wood, a glass forgotten after supper—these small evidences of life soften even the most composed design. In such moments, a rug becomes more than a decorative surface. It becomes the mediator between architecture and living.
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