Antique Rugs
Antique rugs have been on the resume of Josh Nazmiyal since he began in the industry almost 40 years ago when he was already recognized for one of the largest oriental rug collections in the United States. Each piece in the internationally recognized volume was hand-picked for rarity, and of course, aesthetic and beauty, now complementing one of the widest varieties of Persian rug and Turkish rug collections with the utmost attention to individuality and care. Because of Josh’s position in the wholesale rug industry, he’s been responsible for promoting a number of collections throughout history, from breathtaking signature Tabriz, Sultanabad, Kerman Lavar, Agra, and Oushak classics to the more unsung jewels of the luxury industry.
Rug & Kilim maintains our own facilities for cleaning and restoration exclusively for carpets we’ve sold to ensure their lasting beauty and care long after a piece leaves our collection.
- Under 6 x 9
- Runners
- 6 x 9
- 8 x 10
- 9 x 12
- 10 x 14
- 12 x 15
- Over 12 x 15
- Indian
- Persian
- Turkish
- European
- Caucasus
- East Asia
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Length
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38175Oversized Antique 19th Century Oval Savonnerie Rug with Florals - Rug & Kilim
38148Antique Hooked Rug with Scrolling Foliage in Warm Pastel Hues - Rug & Kilim
38065Antique French Savonnerie Rug with Floral Wreath Design in Pastels - Rug & Kilim
38064Oversized Antique Aubusson Rug with Floral Medallion & Swan Motifs - Rug & Kilim
38062Oversized Antique French Savonnerie Rug with Florals & Vase Motifs - Rug & Kilim
38009Antique Chinese Peking Circle Gift-Sized Rug with Phoenix Motif - Rug & Kilim
38061Antique Persian Hamadan Rug with Geometric Medallion Design - Rug & Kilim
38060Antique Persian Heriz Runner with Geometric Floral Medallion Design - Rug & Kilim
37354Antique Khotan Rug with Geometric Tonal Design in Brown & Red - Rug & Kilim
37886Oversized Antique Persian Tabriz Rug with Floral Design in Pastel Hues - Rug & Kilim
37939Antique Indian Rug with Coral & Ivory Palmette Medallion & Florals - Rug & Kilim
37882Oversized Antique European Pictorial Rug with Heraldic Bird Motifs - Rug & Kilim
37717Antique Hooked Rug with Floral Geometric Grid in Warm Gold - Rug & Kilim
37720Antique Hooked Rug with Polychromatic Floral Wreath Medallion Design - Rug & Kilim
37551Antique Distressed Agra Rug with Medallions in Jewel Tones - Rug & Kilim
37595Antique Hooked Rug with Floral Bouquet Medallion in Soft Pastels - Rug & Kilim
37943Antique Chinese Rug with Classic Pictorials in Beige Hues - Rug & Kilim
37944Antique Spanish Square Rug with Ogee Motif Trellis in Warm Beige Hues - Rug & Kilim
37961Antique Tabriz Rug with Medallion & Floral Design in Beige & Gold - Rug & Kilim
37146Antique Persian Karaje Rug with Stately Medallion & Classic Motifs - Rug & Kilim
37147Antique Chinese Ningxia Pillar Runner with Imperial Dragon Pictorials - Rug & Kilim
37407Antique Persian Khamseh Qashqai Rug with All-Over Stylized Bird Motifs - Rug & Kilim
37408Antique Persian Rug with Tribal Designs in Warm Earthy Hues - Rug & Kilim
37412Antique Chinese Peking Rug with Scholar's Table in Blue & Brown - Rug & Kilim
37431Antique Caucasian Runner with Folk Designs in Warm Earthy Hues - Rug & Kilim
37439Antique Chinese Ningxia Pillar Runner with Dragon & Symbol Design - Rug & Kilim
37542Antique American Hooked Rug with Oval Floral Medallion Design - Rug & Kilim
37883Antique Chinese Pictorial Rug with Mythological Dragon Design - Rug & Kilim
37884Antique Persian Rug in Gold with Botanical Tree of Life Design - Rug & Kilim
37888Antique 19th Century Khotan Rug with Bold Symbolic Medallions - Rug & Kilim
37388Antique Turkish Rug with Central Floral Medallion in Red & Ivory - Rug & Kilim
37390Antique 18th Century French Art Deco Runner with Floral Medallions - Rug & Kilim
37577Antique Hooked Rug with Floral Bouquet Medallion in Beige & Black - Rug & Kilim
37379Antique Hooked German Tetex Rug in Terracotta with Gul Design - Rug & Kilim
37268Antique Persian Mahal Runner with Intricate Floral Vinery in Brown - Rug & Kilim
37254Oversized Antique Indian Agra Rug with Flowing Floral Pattern - Rug & Kilim
37952Antique Austrian Art Deco Rug in Beige by Josef Hoffmann, Backhausen - Rug & Kilim
37953Antique 19th Century La Savonnerie Gallery Runner with Dense Floral - Rug & Kilim
37956Antique 19th Century Rare Persian Heriz Triclinium Silk Carpet with Hafez Ghazals & Medallions - Rug & Kilim
37805Antique Turkish Rug with Geometric Medallion & Floral Borders - Rug & Kilim
37626Antique Persian Tabriz Rug with Gold & Brown Floral Medallion - Rug & Kilim
37625Antique Caucasian Rug with Shield Medallions & Guard Borders - Rug & Kilim
37242Antique Chinese Rug with Floral Medallion & Vine Design - Rug & Kilim
37545Antique Hooked Rug with Oval Floral Medallion & Botanical Border - Rug & Kilim
37869Antique Persian Kerman Lavar Rug with Colorful Garden Floral Design - Rug & Kilim
Stories from the Antique Archive
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
On the Changing Nature of Money, and a Quiet Shift in How the World’s Great Collections Are Built
As seen in Milieu Magazine’s Summer 2025 Issue, designed by Studio Meghan Eisenbergh, features an antique Amritsar rug from Rug & Kilim’s collection.View More >> Something has changed in the psychology of collecting, and it has changed quietly. For most of the modern era, the serious collector acquired for love, for scholarship, for the pleasure of living with beautiful things, and the question of value, while never absent, sat politely in the background. That arrangement has quietly inverted. Across the last two years, industry surveys have recorded a striking figure: the share of high-net-worth collectors intending to sell from their holdings has fallen from more than half to roughly a quarter. The collector of this moment is not looking to liquidate. They are looking to hold. And they are increasingly treating the objects they acquire not as expenditures but as architecture, as a considered, diversified structure of wealth that also happens to be beautiful.
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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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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.
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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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Deventer, KVT and the Dutch Carpet: The Workshop that Wove for Royalty
The Dutch did not look abroad for the floors of their palaces. This is a small fact with large implications. When the courts of Europe sent to Aubusson and Savonnerie for their carpets, when the very word Smyrna on a label conferred the authority of the East, the House of Orange laid beneath its ceremonial rooms a carpet woven in a river town in the eastern Netherlands, at a factory that had, with a confidence bordering on provocation, named its own street after Smyrna itself. Smyrnastraat, in Deventer. The address of the Koninklijke Vereenigde Tapijtfabrieken, and a declaration of standing made in cobblestone.
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Of Royal Culture and Inheritance: The Silk Heriz Triclinium Carpet of 1868, Perhaps the Finest Surviving Example in the World
Our founder and principal Jahanshah Josh Nazmiyal has been in the carpet industry long enough to have learned that the great pieces announce themselves before one has understood what one is looking at. The light catches the silk a particular way. Some quiet, almost biological recognition runs through the room, the way a wine of consequence stills the table before anyone has spoken its vintage. One has the sense of having interrupted a conversation already in progress. The carpet was here first; one is being received by it. The team welcomed this silk Heriz, the way Jahanshah had unrolled perhaps forty thousand carpets across the better part of his life, and we will tell you honestly that we sat down beside it for a long time before any of us said anything. There is a particular gold in the mian farsh; the great central field, that we all have seen perhaps rarely before in a quarter-century of looking. It is the gold of late-October sun on the dome of the Shah Mosque in Isfahan, the gold the Safavid silk weavers of the seventeenth century pursued and very nearly lost, the gold that the Heriz workshops of the 1860s recovered for a brief generation of patrons before the world turned and they were forgotten. To kneel beside it is to be quiet in the presence of something that does not require your understanding to be what it is.
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