Wool
France
4'10" X 9'2" (1.47 m x 2.79 m)
Out of Stock (Inquire for Custom)
Signed Jean Lurçat Vintage Aubusson Tapestry with Pictorials, from Rug & Kilim
"Working with this family-owned team has been an absolute joy. Their communication, craftsmanship, and flawless execution on our custom rugs consistently exceed expectations."
— Phoebe Howard, James Michael Howard
A standard since our inception upheld across every acquisition,
transaction, and delivery.
45+ Year Old Institution
More than four decades of expertise and stewardship, under the leadership of our Principal, Jahanshah "Josh" Nazmiyal.
Favorable Return Policy
Our return policy is 48 hours upon receipt allowing you to confirm the purchase in your space with confidence.
Product Warranty
Each rug is hand selected or produced through the most reputable sources under the direct supervision of our Principal.
Trusted Global Delivery
Reliable worldwide delivery handled with care, precision and constant communication.
Exceptional Support
Attentive, knowledgeable guidance before and after purchase from our dedicated team of specialists.
Long Term Care
We stand behind every piece we place and remain a resource to our clients for the lifetime of their collection.
Stories from the Default Collection
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
Every Great Collector Owns a Library: On Books, Rugs, and the Knowledge That Connects Them
There has always been a quiet kinship between the rug and the book. Both are objects one lives with rather than merely owns. Both reward the patient return, disclosing more on the tenth encounter than the first. Both are, at their finest, repositories of a civilization's memory; the one held in language, the other in wool. It should surprise no one that the greatest collectors of carpets have almost always been, in the same breath, collectors of the books that explain them. J. Paul Getty kept a scholar's library beside his objects. The Rothschilds, whose carpets now rest in Doha and whose names still move a saleroom, understood a collection as a thing to be studied as much as displayed. To acquire seriously has always meant to read seriously.
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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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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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A Profile on Jules Leleu and Paule Leleu and their Contributions to the Art Deco Movement
“The story of Art Deco is incomplete without the contributions of Paule Leleu.” Paule Leleu's Art Deco Style This particular rug as inspired by Paule Leleu’s designs enjoys a bold take on mid-century French Deco inspirations unseen in this high-low, texturally engaging approach. The subtlety of the pile variation complements both the colorway and the inviting grid with a smart, sophisticated distinction. Paule Leleu (1906–1987) masterfully infused the Art Deco style into her hand-knotted rugs, characterized by elegant linear motifs and tasteful decorative elements. As the 1940s unfolded, she expanded her design repertoire to include captivating floral patterns. A notable aspect of Leleu's approach was her consideration for her family company's furniture, ensuring that her rug designs harmonized seamlessly with the overall aesthetic. Aligning with the evolving trends of the mid-century modern style, her later rugs often leaned towards a refined minimalism.
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A Guide to Jean Lurçat: Pioneer of the Mid-20th Century Tapestry Renaissance
The inauguration of The State Hermitage Museum’s exhibition titled "Nineteenth-and Twentieth-Century Tapestries in the Hermitage Collection” marked a significant milestone in art history. It unveiled, for the first time, a collection of tapestries with a distinct emphasis on the masterpieces crafted by French artists. The showcased tapestries were not mere artifacts, but vibrant expressions of European tapestry weaving, spanning Historicism, the Art Nouveau, and Modernism. One major tapestry exhibited was Jean Lurçat’s “Blaze of Fire” honoring his innovative designs and use of narrative elements transformed tapestry weaving from a decorative craft into a serious art form that could convey emotion and depth of thought. Rug & Kilim curates masterpieces of culture with the utmost quality of craft and graphic personality like so few in existence. Above is one such masterpiece that we have collected — a signed Lurcat vintage Aubusson tapestry, handwoven circa 1940-1950. The design features gold border and beige field, both of which underscore insect pictorials and florals, leafage and botanicals in brown, rust and amber tones. Collectors will note signatures both on the lower left face of the piece and on the underside panel (initials I.I.).
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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.
Default
Wool
France
4'10" X 9'2" (1.47 m x 2.79 m)
Out of Stock (Inquire for Custom)
Signed Jean Lurçat Vintage Aubusson Tapestry with Pictorials, from Rug & Kilim
"Josh and his team have supported my interior design work, as well as my personal projects, for over 20 years. Their inimitable combination of creativity, personal attention, professionalism and joie de vivre are irresistible."
— Claire Fleming Peters, Fleming Peters
