Masterpieces

No. 510556 — 202 x 145 cm
Wool on a cotton base

Many nomadic rugs reflect the rhythm of daily life, shaped by fleeting emotions and humble realities. But this Qashghai piece stands apart. Woven by a young woman nearly a century ago, entirely from memory, as is often the way of nomadic weavers, it pulses with an unmistakable feeling of joy.

There’s something in its exuberant colours and lively composition that hints at more than routine. It feels celebratory. Perhaps she was anticipating a wedding, the birth of a child, or the reunion of lovers. We can’t know, but we can feel it. Every knot radiates happiness, as though her spirit reached out through time to share that joy.

Made by the Turkic Qashghai tribes of the Fars region, this rug is a pure expression of emotion woven into form. It holds within it not just a design, but inherited motifs, memories, and a fleeting moment of bliss, preserved forever in wool.

No. 163555 – 555 x 305 cm
Wool on a cotton foundation.

The book Persian Carpet by the British owner of Overseas Carpet Manufacturers—established in 1907—is one of the most important references on Persian rugs. Though some parts are appalling for the colonialist attitude with which he recounts his dealings, the book remains a valuable resource for anyone interested in the history of Persian weaving.

Edwards documents his experiences with producers and weavers across various towns and cities in early 20th-century Iran. During his operations, he established workshops in several regions, producing extraordinary carpets tailored for Western markets.

The rug here, signed OCM ( اوسیم ), is a prime example of such work—featured in Edwards’ own publication as a Mashad carpet from circa 1920s, inspired by an earlier Farahan design. It not only embodies exquisite craftsmanship but also represents a unique chapter in history of Persian carpets. A true masterpiece that can be the pride of any home.

Qum, a dusty city at the desert's edge, is revered by Shias for its holy shrine. The tradition of carpet weaving in the town is relatively new, beginning in the early 20th century, just before World War II, when the popularity of Oriental rugs in the West was at its peak. Nearby centres like Kashan, a significant carpet-producing hub, along with Arak, were overwhelmed by demand. Consequently, merchants from Kashan and Arak established looms in Qum, capitalizing on the presence of weavers already living in the city, drawn by their religious beliefs and the desire to be near the shrine despite the city’s limited water supply and harsh environment.

These weavers, representing various ethnic backgrounds and towns, had a wealth of experience in weaving techniques and traditions. Their presence in Qum and the establishment of workshops by merchants created a unique opportunity to harness this pool of skilled labour. This collaboration marked the beginning of Qum as a new centre for Persian rug weaving, producing some of the finest carpets. The industry was built from the ground up, with merchants hiring designers from across the region to develop specific design styles. These styles, inspired by centuries-old patterns from other cities but with a unique touch of finesse, set Qum's carpets apart.

Over the past four decades, the domestic market's strong demand for fine rugs has driven weavers to produce superfine silk carpets. Today, Qum rugs are celebrated for their exceptional quality, often featuring over a million knots per square meter in silk.

Earlier examples, like the rug presented here, are generally made with quality wool and natural dyes. This rug’s pattern, inspired by the tribal Bakhtiaru rugs and modified to fit the fine city weave and the rust hue acquired from madder roots, adds an astonishing charm to this tastefully woven piece.

6672 – 288 × 182 cm
Wool and silk on a silk foundation | Circa 1980s

The mythical Tree of All Seeds—also known as the Tree of Life—has long fascinated carpet designers. It is one of the most enduring and beloved motifs in traditional weaving, sometimes rendered in abstract, stylised forms, and at other times in intricate, naturalistic detail.

Having seen countless examples over the past four decades, I can say with confidence that this one stands among the finest. Composed of over seven million knots, it is woven with an extraordinary level of care and precision that few pieces ever achieve. The materials used are of the highest grade, and the colour composition is rich, layered, and completely outside the realm of the ordinary.

It takes years to produce a piece of this scale and complexity. This particular rug was made in the early 1980s and is one of the earliest works by the master weaver Azim Zadeh, created in the early days of his journey—when the ambition was strong, and every knot carried the weight of hope and craftsmanship.

Here is a Tabriz carpet in "Ardabil" design, made circa the 2nd quarter of the 20th century (300x400cm). As you can see from the second picture, there are 81 knots per square centimetre of this piece. That means the weavers of this rug have painstakingly made 9.7 million knots to create this beauty. A skilled weaver can tie around 6000 knots a day on such a carpet. Please do the math, considering that no more than three weavers can work simultaneously, calculate the time to complete such a masterpiece.
Then add about three months it takes to prepare the material, including hand spinning and dyeing the yarn and, most importantly, drafting the design and its conversion to a form that weavers can follow.

Do you have the number? could you imagine?

The weavers must make every knot consistent with others; otherwise, they could not achieve such a mathematical harmony.
An unbelievable work goes into creating a carpet, most of the time, with passion and love. This work is an ancient craft with a deep root in the culture and traditions of the people who make them.

No. 161986 – 220 × 152 cm
Wool on cotton base

A fictional port-key might transport you through time and space in stories like Harry Potter or The Wheel of Time, but certain works of art can achieve this in the real world. This breathtaking Tabriz rug is one such creation—offering a portal to a slower, more peaceful era when the sky was truly blue, and the whispers of nature could still be heard.

Woven nearly a century ago, this pictorial rug radiates tranquillity and hypnotic charm, guiding the viewer into a calm, reflective state. The wool is handspun, the dyes are 100% natural, and every knot was formed with love—typical of pieces by the celebrated master Haddad, whose discreet signature rests in the lower border.

The scene depicts the hauntingly beautiful ruins of the Blue Mosque of Tabriz, originally built in 1480 AD and tragically damaged in the 1778 earthquake. Its broken majesty has been preserved through the meticulous craftsmanship of this rug, a testament to the cultural and artistic legacy of Persia.

No. 58009 – 500 x 355 cm
Wool on a cotton foundation.

The reputation of fine carpet weaving has never been defined by mass production, but rather by pieces like this—works of art created through passion, heritage, and absolute beauty. The splendour of the workmanship and the monumental scale of this rug speak volumes about the extraordinary effort and time required to bring it into being.

Crafted circa the 1930s, this breathtaking Tabriz carpet is a testament to artistic devotion at every level. From the moment the designer placed the first mark on graph paper—carefully mapping every colour and line—through to the hand-spinning of the yarn and natural dyeing processes, every element of its creation radiates love and mastery.

Its design vibrates with harmony and visual rhythm, evoking a calm joy in those who observe it. This is not merely a rug; it is a visual conversation between artist and viewer, a composition that elevates the room it inhabits and the heart that embraces it.

Though the name of its maker is lost to time—an all-too-common fate due to the cultural humility among master artisans—its enduring beauty and mint condition reveal much about its previous custodians. It has clearly been treasured and preserved with great care, passed down not simply as an object of value, but as a cherished companion in life.

Carpets of this calibre are rare. They are not created in haste or repetition, but emerge from unique moments when vision, skill, tradition, and possibly even divine inspiration converge to create something truly sublime.

The story of the conflicts between mouse and cat is best known for Tom and Jerry. Their eternal skirmishes have amused many of us since childhood. However, very few have heard of another mouse and cat tale, a Persian one, that Obeid Zakani wrote a few hundred years back in the 14th century AD. The piece is Obeid's best-known work in his usual sarcastic style. It is a daring criticism of the rulers of his time.

The story starts with the sorrow and repentance of a cat for killing a mouse;

"Court of the Highest, I repent; no more will my sharp teeth be soaked in mouses gore. And for the blood that I've unjustly shed, I'll give the poor as alms twelve pounds of bread."*

A little mouse who was hiding behind the pulpit heard the cat's moans and saw his tears and ran to other mice to break the fantastic news;

"Great news! The cat converted. He repents. He's filled with sacred Muslim sentiments. This paragon of pious virtues keeps prayers vigils in the mosque, and moans and weeps."*

However, the happiness of the mouse nation didn't last long. The prayer beads, the long beard and the pulpit soon became tools of deception. The cat kills five of seven elder mouses who go to congratulate him on his conversion.

A war breaks out between the army of cats and mice shortly after...

(*from the translation of the Mush O Gorbeh, by Dick Davis)

The picture is from a detail of an antique Persian Kashan (4959 339x251). It is a beautiful example of the influence of thousands of years old culture in such fantastic rugs whose beauty is far more profound than their intricate patterns on the surface.

Most of the time, the weavers and designers of astonishing Persian carpets remain unknown. I often come across fascinating rugs that arouse my curiosity. Many of them appear to have hidden messages within their dancing motives.

The early 20th century Kashan here is one of such rugs. Why is the size of the doe so disproportionate? Why the deer appears so dispirited? Why is the bird on the tree alone? Why all the others on the border are in pairs and kissing each other? What does the river represent?

I wish I could get the answers from the designer/weaver, but perhaps she or he is long gone, and there is no way for us to find the answers. In the meantime, we could let our imagination fly.

Visit us this weekend to see a wonderful collection and listen to the stories behind our fascinating rugs.

Almost two years of painstaking work by several people to create a true masterpiece. The result is breathtaking.

Detail of a magnificent Isfahan by Nael.

"Over every mountain-top
Lies peace,
In every tree-top
You scarcely feel
A breath of wind;
The little birds are hushed in the wood.
Wait, soon you too
Will be at peace."

Johann Wolfgang von Goethe

In picture: detail of an old Kashmar carpet.

No. 25232 – 203 x 130 cm
Wool on a cotton foundation.

“I once asked a bird, how is it that you fly in this gravity of darkness? The bird responded, ‘love lifts me.”
Hafez (1350-1390 AD)

The Persian poems and mystic scripts are full of metaphors. The writers often use birds, trees, wine, and such to describe subjects such as mystical transcendence.
Many weavers and designers in the past lived and grew up within a spiritual culture. Reciting the poems of Hafez, Rumi, Khayyam, and other great Persian poets were the essential elements of entertainment in any gathering.
The influence of the rich culture is a fundamental aspect that makes antique Persian carpets what they are; Everlasting pieces of art that chant and dance for those who can understand them.

The Tehran rug here is a fascinating example of such carpets from the late 19th century, beautifully arousing a feeling of an upward movement.

No. 171121 – 210 × 124 cm
Wool on cotton

Details make all the difference between the ordinary and the exceptional, and this rare pictorial rug, woven circa 1930s, is a perfect example. At first glance, it depicts a familiar and beloved narrative from classical literature—the legendary romance of Khosrow and Shirin, the Persian king and Armenian princess whose love story has enchanted audiences for over a millennium.

But look closer, and two subtle yet powerful symbols elevate this rug into the realm of the extraordinary.

First is the inclusion of Reza Shah Pahlavi’s portrait, subtly integrated into the composition. As the founder of the Pahlavi dynasty and ruler of Iran from 1925 to 1941, Reza Shah remains a controversial and complex figure in Iranian history. Seeing his likeness in a rug is exceptionally rare, suggesting the weaver’s allegiance—or perhaps admiration—during a time of sweeping change and national transformation.

The second unique feature is a beautifully reimagined version of the Imperial Coat of Arms. Traditionally depicted with swords symbolising power, here the weaver has replaced the weapons with flowers—an artistic and bold reinterpretation that softens the emblem and perhaps reflects a longing for peace or a commentary on the king’s heavy-handed rule.

We may never learn the identity of the talented woman who wove this piece, but her voice and vision live on in the knots she tied. Through a blend of history, symbolism, and storytelling, this rug becomes not just a textile, but a cultural time capsule—one that continues the ancient tradition of preserving myths, legends, and hidden meanings through the loom.

No. 50854 | 308 × 206 cm
Wool on silk base | c. 1960s

This exceptional Tabriz carpet is a fine example of artistic mastery and individuality in Persian carpet weaving. Tabriz, the historic capital of Azerbaijan, is renowned for producing some of the most diverse and imaginative rugs in the world. What truly distinguishes Tabriz weavers is their artistic freedom—an openness to painterly expression that allows for unique departures from tradition.

This artistic philosophy contrasts with the more rigid and technical approach seen in other weaving centres, where draftsmanship often takes precedence. In Tabriz, the designer’s taste shapes the soul of the carpet, often leaving a recognisable fingerprint even without a visible signature.

Here, we see one such masterpiece—an intricate garden of birds, flora, and fauna—executed with breathtaking detail and grace. Woven on a silk base with the highest quality wool, this carpet bears the signature style of Master Abbas Ali Alabaf, one of Tabriz’s most revered designers. His distinctive approach to colour and composition gives this piece its unmistakable elegance and visual harmony.

Now over 60 years old, the carpet stands as a testament to the enduring legacy of Tabriz's artistic spirit and craftsmanship.

4361 – 241 × 152 cm
Wool and silk on silk foundation | Circa 1950s

During the Safavid Dynasty (1501–1736), mysticism and Sufi teachings rooted in the works of Hallaj, Attar, and Rumi reached their peak. Shah Ismail, the dynasty's founder, was a devoted Sufi who laid the foundation for a flourishing era in Persian art and culture—including carpet weaving, which saw its golden age in this period.

Among his successors, Shah Abbas I (1571–1629), known as Abbas the Great, had a particular passion for carpets. He introduced a now-iconic design named after him—“Shah Abbasi”—still woven today. At the heart of these carpets lies a fully blossomed central medallion symbolising the journey toward spiritual purity. The surrounding half-bloomed floral elements all lead inward, representing the path toward the divine or the self-realised form.

This stunning Isfahan carpet is a work by the master designer Hekmat Nezhad, one of the most celebrated names in 20th-century Persian weaving. Known for his distinctive contours and compositions, his rugs are recognisable even without his signature. Woven circa the 1950s, this piece is a true testament to the refinement of Isfahan artistry, marrying mystic symbolism with supreme craftsmanship.

"19 (56). 'The waters stand there boiling, boiling up in the heart of the sea Ptlitika, and, when cleansed there, they run back again from the sea Ptlitika to the sea Vouru-kasha, towards the well-watered tree, whereon grow the seeds of my plants of every kind.'
20 (60). 'Those plants, I, Ahura Mazda, rain down upon the earth, to bring food to the faithful, and fodder to the beneficent cow; to bring food to my people that they may live on it..."

THE ZEND-AVESTA (Zoroastrian Scripture, Circa 1500-1000bc)
Translated by: James Darmesteter

"Saena (Senmurv) (A pre-Zoroastrian entity)– the great falcon who sits in the top branches of the Tree of All Seeds. When she flaps her wings, the seeds are scattered and carried away by the winds, with the help of the bird Chamrosh, to land in the earth. Associated with the great dog-bird Simurgh, although some scholars claim they are two distinct entities."

Ancient Persian Gods, Heroes, and Creatures - The Complete List, An article by: Joshua J. Mark

Meet one of the best interpretations of a "TREE OF ALL SEEDS", commonly known as the tree of life that I have seen. Thousands of years of culture and tradition have enriched the designs of authentic Persian rugs. The designer has so tastefully translated myths and legends into this marvellous piece of art.

Tehran, Circa late 20th century.