European Rugs
Our European Collection includes the richest selection of antique rugs, vintage rugs, flatweaves, tapestries and contemporary rugs inspired by an encyclopedia of transitional, Neoclassical, impressionist and period piece designs.
Jahanshah Nazmiyal is a renowned student and curator of these sensibilities, including but not limited to 18th-century Aubusson tapestries, French and Spanish Savonnerie rugs, German hooked rugs, needlepoint rugs, Voysey Arts and Crafts rugs, English Axminster rugs, Irish Donegal rugs, Bessarabian rugs, Italian rugs, Romanian rugs, Austrian rugs and other prominent works from Europe throughout history. These rarities — especially European rugs from the 18th and 19th century — first inspired him to reinterpret their designs, pioneering these rugs in modern textures and weaves that would become his earliest custom collection.
Today, our classic archive continues to grow with rare, unique European rugs from exclusive workshops accumulated over decades, which have witnessed a resurgence in the 21st century and continue to inspire our modern rugs with new approaches to these sensibilities.
- Under 6 x 9
- Runners
- 6 x 9
- 8 x 10
- 9 x 12
- 10 x 14
- 12 x 15
- Over 12 x 15
- French
- English
- New & Contemporary
- Tapestry
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Stories from the European Archive
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
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.
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Rug of the Week IV: Mandaroux’s Le Carnaval — A Mid-Century Aubusson Tapestry in the Age of Postwar Reinvention
NO. 33873 Vintage French Aubusson Mandaroux Tapestry in Green with Pictorial | Rug & Kilim >> When the name Aubusson appears in a conversation among connoisseurs, it evokes an institution: five centuries of tapestry production that has furnished the courts of France, the grand hôtels particuliers of Paris, and the most ambitious interiors of Europe. Yet, the 20th century forced Aubusson into an existential shift. With the Second World War leaving both industry and identity fractured, the ateliers of central France were compelled to modernize. Painters, architects, and designers were invited to collaborate, transforming tapestry from historicist ornament into a modern art form.
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Rug of the Week Series III: Power, Pattern, and Politics in French Needlepoints of the Second Empire
There are objects that decorate, and there are objects that define. This mid-19th century French needlepoint rug—handmade in wool between 1850 and 1860—is firmly of the latter category. At first glance, its medallion-and-floral field, worked in shades of imperial blue, martial red, and softened beige-brown, reads as a refinement of ornament. Yet within its stitches lies the broader cultural program of Napoleon III’s Second Empire, when interiors were designed as orchestrated symbols of hierarchy, order, and political continuity. To understand a textile such as this is to understand the interior not as decoration but as stagecraft: a point where power, domestic life, and aesthetics converged.
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The World of Period Piece Rugs and Kilims: Provenance, Style, and Collecting Masterworks
In the world of fine art and design, the term period piece is not a casual descriptor—it is an assurance of historical integrity, stylistic authenticity, and documented provenance. To speak of period piece rugs and kilims is to speak not simply of textiles, but of time made tangible. From the opulent wool-and-silk Savonneries gracing the salons of Louis XIV, to the restrained architectural harmony of French Aubussons, the modernist clarity of a signed Leleu, or the atmospheric geometry of Chinese Art Deco and Peking carpets—these are not mere floor coverings. They are artefacts of intent, designed to speak to power, status, and the zeitgeist of their era.
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René Perrot’s Tapestries and the Post-War Revival of French Decorative Arts
The resurrection of French decorative arts after the devastation of World War II represents one of the most profound artistic revivals of the 20th century. At the center of this renaissance stands René Perrot (1912-1979), whose monumental tapestries encapsulate not merely a return to tradition, but a bold reimagining of France's artistic identity amid the rubble of conflict. When a nation's cultural heritage lies in fragments, the artist becomes both archaeologist and architect. This sentiment echoed through the corridors of post-war French ateliers, where Perrot's distinctive vision began to take shape.
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The Role of European and Persian Rugs in Royal Palaces and Historic Estates
To walk upon a fine Persian and European Rug is to tread upon centuries of tradition, craftsmanship, and power. As we reflect on our decades curating what many regard as the world's preeminent collection of European and Persian rugs, we are reminded that these extraordinary textiles are far more than mere floor coverings—they are narratives of civilization. Persian rugs entered European courts as potent diplomatic currency long before they adorned their floors. When Shah Abbas I sent his magnificent silk and metal-thread carpets to Venice's Doge's Palace in the 16th century, he dispatched not merely gifts but ambassadors of Persian cultural supremacy.
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