Style
Savonnerie
Every piece in this style, across all of our collections. Narrow them down by size and price.
- Under 6 x 9
- Runners
- 6 x 9
- 8 x 10
- 9 x 12
- 10 x 14
- 12 x 15
- Over 12 x 15
Origin ▼
Style ▼
Material ▼
Width
Length
To connect with a specialist, click here
Stories from the Savonnerie Archive
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
Rug of the Week: The Neoclassical 19th Century Oversized Savonnerie as a French Masterpiece
Every civilization that has reached a certain confidence has wanted to put its worldview on the floor. The Persians wove paradise gardens; the Chinese, the cosmos in miniature. France, under the Sun King, wove order itself. The Savonnerie, the royal carpet manufactory brought to its height under Louis XIV, the symmetry of the formal garden, the architecture of Versailles, the neoclassical grammar of acanthus and rosette and laurel that announced a culture certain of its own supremacy. A Savonnerie is a political philosophy you can stand on. All of which makes the four small creatures hidden in this particular example so delightfully subversive.
Read the Feature
The House the European Stuycks Kept: Madrid’s Royal Loom, Goya’s Cartoons, and the Spanish Carpet
There is a building in Madrid, a short walk from the Atocha station, where the same craft has been practiced without interruption for more than three hundred years. Its brick and its Neo-Mudéjar arches were raised in the nineteenth century, but the work carried on inside them belongs to a lineage older still, to 1720, when Philip V, having lost the Flemish tapestry workshops of the Spanish Netherlands to the Peace of Utrecht, resolved that Spain would simply make its own. He summoned a family of Flemish weavers, the Vandergotens, to Madrid, and founded the Real Fábrica de Tapices de Santa Bárbara. Three centuries later, in the presence of the King and Queen of Spain, the factory marked its tercentenary as one of the last places on earth where royal weaving continues by the hand, exactly as it always has.
Read the Feature
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.
Read the Feature
The Long Life of a Green: On Celery, Color of the Year, and the Four Centuries of Weaving That Anticipated It
Every year, the color world makes its pronouncement, and every year the design world turns to see what it has been given. For 2027, Sherwin-Williams has named Celery; a light, airy, herbal green with a yellow undertone, chosen, in the company's words, for a moment that prizes wellness, balance, and connection. It is a soft color with a quiet glow and a faint edge; it pairs, its makers note, with white for something breezy, with cranberry red for something playful, with brown for something elevated. It is, by any measure, a beautiful and intelligent choice. It is also a color the great weavers of the world have understood for four hundred years.
Read the Feature
Christian Bérard, Jean-Michel Frank, and the Making of Nelson Rockefeller’s Most Personal Room
In April 1939, the SS Normandie docked in New York Harbor carrying, somewhere in her hold, a rolled carpet. The Normandie was herself the most extravagant object afloat; an emblem of French luxury and design, her marble lounges dressed with Aubusson carpets, signed furniture, and exceptional lighting, a vessel so audaciously beautiful that the New York Times had described her maiden crossing as "the greatest mass of steel and machinery ever to sail the sea." She was also, in April 1939, five months from her last voyage. Germany would invade Poland in September. The Normandie would be seized by the United States Navy, catch fire during conversion to a troopship, and capsize into the Hudson River, taking with her the full weight of the civilization she had been built to represent.
Read the Feature
Savonnerie, Aubusson, Gobelins: The Three Ateliers That Defined What Europe Believed a Rug Could Be
In the final years of the sixteenth century, the treasury of France was hemorrhaging. Not to war alone though there had been enough of that but to the East. French silver was flowing steadily toward Persia and the Levant in exchange for knotted-pile carpets, objects of such refinement and such authority that no European workshop had yet produced anything capable of competing with them. Henri IV, who had survived the Wars of Religion and the bankruptcy of a kingdom to sit on the French throne, was not a man inclined to accept a problem he could solve. He installed Pierre Dupont — weaver, entrepreneur, and the most technically accomplished carpet-maker in France in the galleries of the Louvre itself, in workshops beneath the palace's own roof, with a single instruction: make something that does not require us to send money to Persia.
Read the Feature
