The source of the carpet comes from the book The Kevorkoff Carpet, Hali Magazine 1994 Issue 73. This is a large and brilliantly colored, derivation from a vase carpet, an 18th-century rug from the North-west Persia area. As mentioned in the Hali magazine article by Ian Bennett, the original size is ..

The source of the rug comes from the book Antique Rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.45. This is a popular design employed by the Kurds, called bid majnum (or Bid Majnun, weeping willow) 17th-century rug from Sa'uj Bulagh, Eastern Kurdistan area. Four differe..

This unique design rug is interpreted by our designers with a composition of pictorial village life. Color summary:  9 colors in total; Jericho Jade 25 (Spurge - Indigo) Lucario Blue  342 (Spurge - Madder Root - Indigo) Misty Moss 14 (Spurge - Madder Root) Russian Green  418 (Henna - Indigo..

The source of the rug comes from the book Antique Rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.4. This was an exclusive example of a Mina Khani lattice design mid-19th century rug from Koliya'i, Southern Kurdistan area. The mina khani is composed of a series of rows of..

The source of the carpet comes from the book How to Read – Islamic Carpets, Walter B. Denny, The Metropolitan Museum of Art, New York 2014 fig.58 and Antique Rugs from the Near East, Wilhelm von Bode and Ernst Kühnel, Klinkhardt & Biermann, Berlin 1958, pg.40 and Orienta..

This unique design rug is interpreted by our designers with a composition of pictorial village life. Color summary:  11 colors in total; Yellow Green 419 (Henna - Indigo) Pine Tree  420 (Henna - Indigo) Natural Wool Color  320 (Specially Washed) Fiery Orange 6 (Madder Root) Ginger Church 1..

The source of the carpet comes from the book Orient Star - A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.81. This is an example of one of the most intriguing design groups of carpets from the Caucasus and North-west Persia area, and surrounding regions 17th to 18th centu..

The source of the rug comes from the book Antique Rugs of Kurdistan A Historical Legacy of Woven Art, James D. Burns, 2002 nr.33. This is a fine Kurdish workshop rug with split-palmette and trefoil arabesque patterns designed mid-19th century rug from Senna or Garrus, Eastern Kurdistan area. This de..

This is a Bidjar rug designed in the 19th century from the Bidjar region, also known as Bijar, which is a region in northwestern Iran known for producing some of the finest and most durable rugs in the world. During the 19th century, Bidjar rugs gained prominence and were in high demand. They were f..

The source of the rug comes from the book Caucasian Carpets, E. Gans-Reudin, Thames and Hudson, Switzerland 1986, pg.57. This is a large medallion rug from the late 19th century, Karabakh, Chelaberd region ( Tchelaberd, a village slightly to the southeast of Chondzoresk ), Caucasus area. At Chelaber..

The source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.87-88-90. This is a large medallion rug from the late 19th century, Karabakh, Chelaberd region ( Tchelaberd, a village slightly to the southeast of Chondzoresk ), Caucas..

This hand-knotted rug is a bold reinterpretation of the historic Mamluk “chessboard” layout—an architectural field design built from a grid of repeated octagonal star motifs. Unlike classical Mamluk rugs, which often featured deep crimson and emerald tones, this version introduces an earthy and lumi..

The design source of the rug comes from the book Oriental Rugs Volume 1 Caucasian, Ian Bennett, Oriental Textile Press, Aberdeen 1993, nr.360. The alternating row of octagons and spiky stylized flowers are typical of a group called Khirdagyd-Chichi, from the late 19th century, Village of Chicli..

The source of the rug comes from the book Orient Star - A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.57. There has long been a fascination with the symbolism of the dragon and its depiction in carpet weavings. The design of ‘Dragon’ carpets consists of a field pattern c..

There has long been a fascination with the symbolism of the dragon and its depiction in carpet weavings. The design of ‘Dragon’ carpets consists of a field pattern composed of different colored overlaid lattices formed of pointed, serrated leaves creating intersecting lozenges, which alternately con..