Wool
France, New
5'4" X 6'7" (1.63 m x 2.01 m)
Available: Shipping As Soon As Tomorrow
Rug & Kilim's Contemporary Mid-Century Modern Rug in Abstract Design








Synnøve Anker Aurdal: Through the Threads
By Lars Bang Larsen and Solveig Øvstebø (eds.) — Mousse Publishing, 2025
Contemporary, Tapestry & Textile
By combining traditional craft techniques and the language of painterly abstraction, Synnøve Anker Aurdal (1908–2000) created a new space for modern textile art. Her works take on an effervescent character by featuring materials such as copper thread, polyester, fiberglass, nylon, chains and synthetic dyes, challenging both aesthetic hierarchies and modernist assumptions about weaving.
Preserved in our design reference library. Inquire to visit and use as a resource.
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- Measurements: 5'4" x 6'7" ( 1.63 m x 2.01 m )
- Categories: European, Mid-Century Modern
- Classification: Abstract, Mid Century Modern
- Material: Wool
- Origin: France
- SKU: 37433
Specifications:
Stories from the Mid-Century Modern Collection
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
The Total Art: Vienna’s Century, From the Gold Frieze to the Contemporary Era
In the dining room of a banker's house in Brussels there is a wall of gold. Klimt designed it; the Stoclet Frieze, a tree of life branching across marble and enamel and coral, a dancer on one side and an embracing couple on the other, the couple a direct rehearsal for the painting the whole world would later know as The Kiss. But to stand in that room, were one ever permitted to, is to understand that the frieze is not the point of it. The point is that the frieze, the marble, the cutlery, the door handles, and the carpet underfoot were all conceived as a single object by a single mind. The Palais Stoclet, built by Josef Hoffmann between 1905 and 1911 and now sealed as a UNESCO World Heritage Site, is the most complete surviving statement of the idea that organised an entire Viennese century: the Gesamtkunstwerk, the total work of art, in which nothing; not the spoon, not the dress, not the floor, ranks below the painting on the wall.
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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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Rug & Kilim’s Tapestry Artists’ Series: In Dialogue with Joanne Soroka
There are artists who weave cloth and the ones who weave ideas. And then there are artists; rare, serious, working at a register that most practitioners of any medium never reach, who weave lives. Not their own lives, though those are present too, but the lives of people who left no other record: emigrants who crossed oceans under duress, ancestors who worked rivers in foreign countries, families scattered across continents by persecution and necessity and the simple human desire for somewhere better than where they were. Joanne Soroka weaves these lives. She gives them, as she has said herself, the meaning that history denied them. The loom, in her hands then, is an act of remembrance, slow, physical, irreversible, and as close to justice as textile art has ever come.
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Rug & Kilim’s Tapestry Artists’ Series: In Dialogue with Jeni Ross
There is a moment, familiar to anyone who has stood inside a Jeni Ross installation, when the room stops being a room. Not because the work overwhelms the space in the manner of spectacle not because it shouts, but because it restructures. A Ross textile does not hang on a wall so much as claim it, establishing a gravitational field of color and material density that reorganizes everything around it with the quiet authority of a load-bearing element. You do not look at a Jeni Ross. You adjust to it. You find your position in relation to it. The room, in the most literal architectural sense, has acquired a new wall.
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Understanding the Swedish Grace Movement of the 1920s: Origins of the “Scandinavian Rug”
The term "Swedish Grace" was used to define the products of the Swedish applied art industries in the 1920s, highlighting the Scandinavians' unique ability to infuse grace into the everyday routines of life. This movement seamlessly blended the decorative expressiveness of Art Deco and Neoclassicism with the characteristic Scandinavian restraint (or minimalism, as it would be coined in the early 20th century. Icons such as Eileen Gray, artist Fernand Léger and Francis Bacon adorned floors with vibrant geometric compositions. Before the emergence of the more defined Swedish minimalist designs between then and post-war era, there was the development of Swedish Grace, which ran parallel to the better-known Art Deco movement. It stands as a significant chapter in modern design history, representing the Nordic branch of the Art Deco style. Swedish Grace represented a shift towards geometric stylization, streamlining and a focus on the essential elements of line and form. Still, it further distinguished itself from Art Deco by often incorporating playful Nordic folk art motifs, neoclassical elements and a particularly refined sense of color — characteristic of Swedish art.
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R&K Image Studio
NEWThe R&K Image Studio is a new visual workspace designed to present the Rug & Kilim collection with clarity, restraint, and precision — in your space or any space you imagine.
This tool allows you to view, refine, and prepare imagery drawn directly from the pieces in our archive. They can be visualized cleanly, isolated thoughtfully, and adjusted for presentations, proposals, and private viewings, without altering the integrity of the original work.
Mid-Century Modern
Wool
France, New
5'4" X 6'7" (1.63 m x 2.01 m)
$6,800
Available: Shipping as Soon as Tomorrow
Rug & Kilim's Contemporary Mid-Century Modern Rug in Abstract Design
"Rug & Kilim has become a go-to for us. The vintage and modern inventory is unlike anywhere else, the team is easy to work with, and the custom program holds up to the same standard."
— Mx Ariel Ashe, Ashe Leandro LLC
- Measurements: 5'4" x 6'7" ( 1.63 m x 2.01 m )
- Categories: European, Mid-Century Modern
- Classification: Abstract, Mid Century Modern
- Material: Wool
- Origin: France
- SKU: 37433
