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For decades, we have carefully collected exceptional Persian rugs, selecting each piece with knowledge, care, and love.As we make room for our new exclusive collections, we are releasing a limited number of these remarkable rugs at genuine sale prices.Those who know us know that we rarely offer discounts.Limited pieces. Genuine savings. Once sold, they are gone.Don't miss it!SALE!
This beautiful rug is a celebration of texture, simplicity, and the quiet beauty of natural materials. Handwoven by the Lori tribes of southwestern Iran, it reflects a weaving tradition shaped by centuries of nomadic life among the valleys of the Zagros Mountains and the plains stretching towards the Persian Gulf.
The wool comes from the weavers' own sheep, handspun and left undyed to preserve its natural character. The gentle ivory field is animated by delicate streaks of grey, brown, and charcoal, creating a subtle rhythm reminiscent of windswept grasslands, flowing water, or the grain of weathered timber. The beauty of the rug emerges entirely from the natural variation of the wool, without the use of dyes.
Its restrained palette and richly textured surface give the piece a distinctly contemporary presence while remaining deeply connected to its tribal origins. Minimal yet expressive, it rewards closer observation, revealing layers of movement and nuance that change with the light and the viewer's perspective.
Elegant in its simplicity, this rug introduces texture, depth, and visual interest without overwhelming a space. Its natural palette allows it to sit comfortably within both modern and classic interiors, complementing rather than competing with its surroundings.
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There are hundreds of villages scattered around the regions of Qazvin, Zanjan, and Hamedan, each preserving its own weaving traditions, patterns, and colour palettes. Many of the rugs woven in these villages came to be known as Musel rugs, most probably because the city of Mosul in Iraq was once an important trading hub where such pieces were highly appreciated and widely traded among the Arab nomads and Bedouins of Iraq and Arabia.
This particular Musel rug, most probably woven around the 1950s, carries a very different kind of beauty. Years of use, exposure to sunlight, and the passage of time have softened both its colours and its surface. The pile has gently worn down, creating a texture that cannot truly be reproduced artificially.
What remains is a quieter beauty.
The once vibrant colours have settled into subtle earthy tones, giving the rug a calm and understated presence. Rather than dominating a room, it melts naturally into its surroundings, enriching the interior space with warmth, atmosphere, and depth.
Such pieces have a unique charm because age itself has become part of their design. Time has collaborated with the weaver, softening edges, muting contrasts, and creating a harmony that only decades of living can produce.
It is this honesty of wear and this quiet maturity that make rugs like this deeply appealing. They do not shout for attention, yet the longer one lives with them, the more their beauty reveals itself.
The village of Shul, situated in Fars province not far from Persepolis, is associated with settled Qashqai communities whose way of life stood between nomadic pastoralism and village settlement. Many of these communities maintained permanent villages while preserving strong tribal ties and elements of their migratory heritage. Their cultural landscape was closely connected to the heartland of ancient Persia and the region surrounding Persepolis.
The rugs woven in Shul are often admired for their simplicity. Unlike many Persian carpets that rely on elaborate colours and intricate ornamentation, Shul weavings frequently employ natural undyed wool, limited palettes, and highly restrained compositions. Their beauty lies not in complexity but in confidence, allowing form, texture, and symbolism to take centre stage.
This remarkable Gabbeh is a fine example. Four large medallions are arranged along a central axis, creating a calm and balanced composition. At first glance the design appears minimal, yet a closer look reveals some of the most intriguing motifs found in village weaving traditions. Within each medallion, stylised human-like figures seem to be seated around a central flower, as if participating in a gathering whose meaning has long been forgotten.
The flower itself is particularly fascinating. Its form recalls the stylised lotus that appears repeatedly in the reliefs of nearby Persepolis, one of the most enduring symbols of the Achaemenid world. Whether this resemblance is intentional, inherited through generations of visual memory, or simply coincidental is impossible to know. Like many motifs in tribal weaving, the original meaning may have faded long ago while the form itself continued to survive through tradition.
Such mysteries are part of the enduring charm of village rugs. The weaver may have been copying motifs inherited from earlier generations without knowing their original significance, or perhaps she attached meanings of her own. Whatever the case, the presence of these figures surrounding a lotus-like flower invites speculation and imagination.
Woven in natural shades of ivory and brown, this rug demonstrates how simplicity can be profoundly expressive. It stands as a quiet reminder that some of the oldest visual memories of a civilisation may survive not in monuments or written records, but in the humble weavings of village women who preserved ancient forms through centuries of repetition.
A super-large tribal rug!
Significant transformations occur in the weavings of nomads when they settle in villages. Among the most conspicuous changes is the size of their carpets, which often become considerably larger and more conventional compared to nomadic rugs.
This transformation can be attributed to the shift in their weaving equipment. Nomads typically use small, portable, rudimentary looms consisting of two wooden poles firmly positioned horizontally on the ground, supported by stones and spikes where weavers sit to create their rugs. In contrast, when they settle in villages, they adopt larger looms that are permanently framed within their homes.
The Persian Yalameh rug here is one such rug, which is the creation of the Yalameh tribes, now settlers in northern Fars province's villages.
They reflect their ancestral symbols, with archetypical significance in their larger and far more orderly designs than those of their nomadic sisters.
Despite the mentioned differences, these people still use a fantastic quality of wool that they acquire from their nomadic relatives who roam the area during spring and summer, contributing to their carpets' amazing texture and lustre.
Many village weavers are influenced by the rich legacy of their mothers and grandmothers, faithfully adhering to the family's or village's established patterns and colours. Marvels happen when a weaver decides to follow her own path and develop her own style and design. That is when traditions, folklore, myths, wishes, and dreams begin to dance to the tune of her mind, materialising as the most intriguing and beautiful carpets, such as this gorgeous Bidganeh rug. This piece presents an unusual interpretation of the 'Tree of Life' design, a motif with a history dating back over 3,000 years. Zoroastrian sources mention the tree as The Tree of All Seeds, while the great Persian philosopher of the 12th century, Sohravardi, calls it Tuba, both recognising it as the mother of all vegetation in the world.
Wool on a cotton base
Isfahan, the crown jewel of Persian art and culture, is renowned for its magnificent palaces, intricate tile work, and timeless architectural wonders, a legacy born during the opulent Safavid era of the 16th and 17th centuries. Under the enlightened reign of kings like Shah Abbas I, art and craftsmanship flourished like never before. Among the most enduring achievements of this golden age are the breathtaking carpets that continue to inspire awe centuries later.
This exceptional piece is a masterfully woven, contemporary homage to that storied past. Inspired by a design originally commissioned by Shah Abbas himself, hence the revered "Shah Abbasi" motif, the carpet embodies the refinement and prestige of classical Persian artistry.
Meticulously handcrafted with over three million knots on a foundation of fine silk, this creation took more than a year to complete. Every detail reflects an extraordinary level of skill, passion, and heritage, making it not just a floor covering, but a true work of art.
The cypress motif is one of the most ancient and enduring symbols found in tribal rugs. It is a motif that has travelled through generations of weavers, carried not through written instruction, but through memory and tradition. The Serv appears as early as the reliefs of Persepolis, dating back to around 500 BC, and continues through Persian literature such as the Shahnameh of Ferdowsi, as well as earlier Zoroastrian texts.
In Persian literature dating back over a thousand years, particularly in the Shahnameh of Ferdowsi, there is a reference to Zoroaster bringing two cypress trees from heaven. One of these was planted in the city of Kashmar in northeast Iran, where he began his invitation to Zoroastrian belief. According to the story, the tree grew into a magnificent symbol, later associated with a fire temple. Centuries afterwards, during the Abbasid period, it is said that the caliph ordered the tree to be cut and brought to Baghdad.
Stories like these remain in cultural memory and gradually find their way into visual expression. Motifs such as the cypress become more than decorative elements; they become carriers of memory, belief, and identity.
This rug is a fine example of that tradition. Woven by Lori Bakhtiari, nomads of Central Iran, it presents a beautifully stylised cypress tree, surrounded by complementary ornamental elements. The composition is balanced and confident, enhanced by a rich and harmonious colour palette.
Dating to the early 20th century, this piece combines excellent quality wool, natural dyes, and a refined sense of design. It remains in very good condition and stands as a strong example of how ancient symbolism continues to live through tribal weaving traditions.
Some designs remain mysterious. They are woven for generations, each weaver inheriting the form from those before her. Perhaps the original meaning is partly lost in time, yet such motifs continue to intrigue the curious mind.
This remarkable piece is a Barjid from a village near Mount Sabalan in Azerbaijan. Its main design appears as an old motif resembling a bird with open wings. Naturally, birds have long been associated with flight, ascendance, and freedom, so it would not be surprising if this motif once carried the wish to rise, to reach higher states, perhaps even spiritual heights.
This interpretation feels especially meaningful in a region where Sufi traditions have had a strong presence. In Sufi language, birds are often used as figures of speech for the soul, spiritual journey, and ascendance. One is reminded of Attar’s Conference of the Birds, where birds become symbols of souls in search of truth.
The rug, therefore, is not merely an aesthetic object. Its beauty is more than surface decoration. It carries traces of culture, belief, myth, and old stories, all translated into wool by a weaver who may have inherited the form without necessarily knowing its full ancient meaning.
With its strong colours, bold geometry, and repeated wing-like forms, this rug has a powerful presence. It is a piece that can invite both visual pleasure and deeper contemplation, the kind of rug that keeps speaking quietly the longer one lives with it.
Beauty is not always found in complexity. Sometimes it emerges from restraint, from the careful balance of texture, material, and proportion. This carpet is an exploration of that idea.
Hand-knotted in India using high-quality wool, it embraces a minimalist language where texture becomes the principal form of expression. The design is reduced to a subtle geometric rhythm that gently moves across the surface like a quiet landscape, inviting the eye to wander without demanding attention.
What gives this rug its distinctive character is its coarse weave and generous knotting. The larger knots create a rich tactile surface that is as rewarding to touch as it is to look at. The slight variations in the wool and the interplay between light and shadow across the pile produce a depth that changes throughout the day.
The restrained palette further enhances this effect. Rather than relying on strong colours or elaborate ornamentation, the rug draws its beauty from texture, proportion, and material. It is a carpet that reveals itself gradually, rewarding close observation and physical interaction.
Contemporary in appearance yet rooted in the ancient craft of hand-knotting, this piece is designed for those who appreciate simplicity with substance. It can sit comfortably in a modern interior while bringing warmth, softness, and a quiet sense of luxury to the space.
A rug not only to be seen, but also to be felt.
Some rugs seem to absorb time rather than suffer from it. This antique Khorassan carpet is one such piece. More than a century old, it remains remarkably alive, carrying a quiet presence and a mesmerising charm that has only deepened through the decades. The colours have matured, the pile has softened, and the texture has acquired a richness that cannot be manufactured. It is the poetry of time woven into wool.
The field is filled with one of the most enduring symbols of Persian culture: the cypress. Repeated hundreds of times across the surface, these stylised cypress motifs create a rhythmic and almost meditative effect. In Persian poetry, the cypress is often a metaphor for the tall, graceful, and youthful beloved. It also occupies a special place in ancient Iranian mythology, where sacred cypress trees are associated with Zoroaster and the spiritual traditions of pre-Islamic Persia. The motif appears throughout Persian art and can even be traced to the visual language of ancient Persia and the reliefs of Persepolis.
What makes this rug particularly appealing today is the harmony between its age and its design. Despite its classical origins, the all-over pattern, subtle palette, and extraordinary texture allow it to sit effortlessly in contemporary interiors. The passage of time has softened every element, creating a depth and character that many modern furnishings strive to imitate but rarely achieve.
Like many great antique rugs, this piece offers more than decoration. It carries memories of a vanished world, of skilled hands, natural materials, and a slower pace of life. It invites contemplation and conversation, rewarding those who spend time with it. The longer one looks, the more it reveals.
Still structurally sound after more than a hundred years, this carpet is likely to continue its journey for decades to come. It stands as a testament to the durability of traditional craftsmanship and to the enduring beauty of objects that age with dignity.