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Transcript of The Decorative Carpet by Alix G. Perrachon - Excerpt
The Monacelli Press
THE DECORATIVE CARPET F I N E H A N D M A D E R U G S I N C O N T E M P O R A RY I N T E R I O R S A L I X G P E R R AC H O N
F O R E WO R D B Y D O R I S L E S L I E B L AU
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
The Decorative CarpetFine Handmade Rugs in Contemporary Interiors
A L I X G P E R R AC H O N
The Monacelli Press
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
Copyright copy 2010 The Monacelli Press a division of Random House Inc
Text copy 2010 Alix G Perrachon
All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York
The Monacelli Press and the M design are registered trademarks of Random House Inc
L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA
Perrachon Alix G
The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed
p cm
Includes bibliographical references
ISBN 978-1-58093-299-8 (hardcover)
1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors
NK21155R77P47 2010
747rsquo5mdashdc22 2010011649
P R I N T E D I N C H I NA
10 9 8 7 6 5 4 3 2 1
F I R S T E D I T I O N
wwwmonacellipresscom
D E S I G N B Y Sara E Stemen
5
To my late father George M Gudefin who taught me to strive only for the best
and to my mother Joan who has always believed I could
To my beloved husband Jean without whom this book would not be
7 Foreword DORIS LESLIE BLAU
8 Introduction
10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks
104 Charles Faudree110 Glenn Gissler 116 Darren Henault
122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf
APPENDIX
230 Purchasing and Care Essentials
232 Gallery
252 Glossary
253 Further Reading
254 Acknowledgments
255 Photography Credits
256 About the Author
Contents
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
7
As long as mankind inhabits this earth there will always
be demand for beautiful things to enrich our lives and
make living a more exciting and passionate experience As
our environments become depersonalized on the outside
the more romantic and personal they have to become on
the inside Home is our haven and must reflect the quali-
ties that enhance our being during periods of relaxation
and rest
At last a long overdue book on decorative carpets has
appeared on the scene This book expresses what has been
so difficult to get clients to visualizemdashrugs situated in dec-
orated rooms rather than just piled up in showrooms By
exhibiting the works of some of todayrsquos most prestigious
designers we are able to see in situ the importance of the
rug and its prominence in a roomrsquos setting
Whether we start the decorating process with the car-
pet or introduce it later it will always be a roomrsquos focal
point This book represents an entirely new approach to
looking at rugs in interiors and helps the eye see what it is
possible to accomplish in an interior setting The inspired
designs that inhabit these pages are a glowing tribute to
the talents of the carpet weavers and interior designers
who enable a space to become a home You the reader are
able to see how important the rug is to an interior and how
its placement is essential to the harmony and flow of the
rooms The numerous designs here are eclectic some-
times quirky and are occasionally formal elegant and rich
in cultural heritage The imagination takes over
It is important to remember that upon entering any
space the eye starts at the floor and rises from that point
The floor and its covering immediately establish a mood
that is then enhanced by the designer who selects fabrics
and furnishings that will perpetuate the atmosphere cre-
ated by the rug The beautiful images in this book help
show the reader how the impact of the carpet and its
placement can make a tremendous difference in the per-
ception of an interior
The carpet can almost appear as a painting on the
floor and can stimulate all that comes after but the deco-
rative use of carpets has never been fully explored as a
topic and for that reason this book fills a very important
void It will prove to be of enormous help to clients design-
ers and individuals interested in rugs alike because the
settings put forth are so varied
The tactile senses assume a major role when dealing
with any form of textile Whether the eye the hand or the
foot is used to experience a carpet the sensual nature of it
comes to the fore Allowing the eye to become captivated
by a pattern reaching down to touch a rug from a seated
position or walking barefoot on one the sudden contact is
exciting The character of the space in question is defined
The room suddenly becomes a unified entity and The
Decorative Carpet brings that to us in a most visually
passionate way It is not at all surprising that Edgar Allan
Poe in his famous quote ldquoThe soul of the apartment is the
carpetrdquo sums this up for us so poetically
DORIS LESLIE BLAU
Foreword
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
11
Thomas C Achille
ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas
C Achille who was captivated by their exotic allure at a very early age Today his interior
design practice specializes in custom luxury yachts in addition to residential and
commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues
ldquoTheir texture color and the thickness of their threads make them special A machine-
made rug canrsquot approach their quality no matter how hard it may tryrdquo
Renowned for creating interiors that fuse the contempo-
rary with the classic Achille often sources fine antique fur-
niture for his clients along with antique rugs ldquoI shop for
antiques because nothing touches their integrityrdquo he com-
ments When hunting for a carpet he generally seeks a
minimalist toned-down palette that will complement a
modern monochromatic look
By far he favors antique muted Oushaks for their
purity and simplicity in color and design Sultanabads
Tabrizes Savonneries and Aubussons follow closely
behind Early in his career in the 1970s he was noted for
being among the first to incorporate kilims into interiors
Now he uses these strongly graphic flatweaves like
fabricmdashusing them on furniture like upholstery and as bed
covers very much the way they were used historically
instead of only on the floor When a new rug is called for in
a project he will turn to a needle point or Tibetan rather
than to a reproduction of an antique oriental rug
Rugs find themselves primarily in Achillersquos living
rooms dining rooms libraries and master bedrooms
Generally he prefers placing one room-sized rug in a
space rather than several smaller pieces He says emphat-
ically ldquoLet the carpet be the starrdquo To his mind all other
elements in a room should play off the carpet including
fabrics A passionate advocate of pure monochromatics as
opposed to pattern over pattern he also likes the texture
of the fabrics to emulate the rug whenever possible and
would choose a nubby silk to go with a coarse Oushak as
opposed to a smoother silk for example ldquoThe carpet sets
the tonerdquo he states ldquoDecorating around a rug is so incred-
ibly easymdashI hope my clients donrsquot find out how simple it
really isrdquo
Achillersquos most memorable carpet project involved
the $175000 purchase of a ldquodrop-dead Oushakrdquo for the
main salon of a 350-foot-long private yacht His team was
informed that the rug would have to be secured to the
parquet floor to keep it stationary as the vessel pitched in
the water however ldquoWe didnrsquot think about that when we
bought the rugrdquo recollects the designer Screws and brack-
ets were carefully threaded through the weave without
creating any holes and the rug which also inspired the
entire yachtrsquos color scheme is still in perfect shape today
ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is
nothing like one to give a room personality and soul Each
is a work of art that will last thanks to its aesthetic and
intrinsic valuerdquo
An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room
11
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
14 T H O M A S C AC H I L L E
A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed
O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
33
Bruce Bierman
For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the
uniformity of our cold technological surroundings Trained in architecture and the fine arts
he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash
including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based
designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-
tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural
materials for their durability and overall aesthetics Of the many styles of rug he has used
throughout the years his favorites include soft-toned Tabrizes and Agras more formal
Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-
ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists
the designer whose rooms often feature one single room-
sized rug to keep the look clean and simple ldquoRugs are so
spectacular that I like them to stand alone in the room unob-
structed by competing fabric or wall patternsrdquo While he
favors monochromatic textured linens leathers and silks
over patterned fabrics he also warns against deliberately
matching rugs with other elements in the room because it
will seem too contrived Sometimes he likes to create the
unexpected as for instance when he chose a very formal
bold red Aubusson needlepoint-design rug with a traditional
central medallion motif for his own contemporary loft
Bierman freely mixes different kinds of rugs from
room to room in the same project The unifying theme
may not necessarily be the design of the rugs themselves
but other elements in the space such as wall color In
one project he placed Aubussons in the entrance hall
living room and dining room a needlepoint in the
family room and contemporary Tibetans in the library
and media room
The designer works to make choosing carpets a pain-
less process for his clients he has found that the key is to
properly educate them with shopping expeditionsmdashwhere
they can see rugs and get a feel for the marketmdashfollowed
by in-home trials ldquoPeople are often initially distrustful and
afraid of the rug selection process They have no gauge of
their worth and are unfamiliar with their foreign namesrdquo
he explains When dealing with a challenging space the
designerrsquos approach is also practical and methodical he
plots the furniture placement over a photograph of the rug
to determine the size needed and to minimize any poten-
tial surprises for the client
Bierman has also found that the increased incidence
of allergies including asthma has triggered a downward
trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot
imagine that rugs will ever go out of fashionrdquo he states
An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
73
Jamie Drake
ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color
schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor
Michael Bloomberg Even in the 1970s when clients with minimalist interiors only
wanted them as accent pieces Drake has always included rugs in his designs and they
have become an ever-more important component of his work
Regardless of genre or age Drake is drawn to high-end
rugs and avoids those that ldquomimic what is hugely preva-
lent in the marketrdquo More specifically he continues ldquoIn
antiques I love everything from Savonneries Aubussons
and Axminsters to Sultanabads and Isfahans with a per-
sonal preference for all-over designs versus central medal-
lionrdquo His passion for Tibetans and other high-end new
rugs however led him to the creation of his contemporary
Jamie Drake Collection for Safavieh
ldquoIdeallyrdquo notes the designer ldquoI like to start with the
rug but many times I end up doing it backwards and com-
ing up with a fabulous rug anywayrdquo He always advocates
anchoring a space with a single room-sized piece rather
than a variety of smaller scattered rugs which he finds
create a ldquosomewhat dated look as well as visual confu-
sionrdquo Also using one impressive striking rug goes hand-
in-hand with creating his characteristically bold look
Drakersquos talent for integrating strong vibrant colors into
many genres and periods defines his signature style Color
including the myriad hues found in oriental and decorative
rugs serves as the uniting element in the designerrsquos eclectic
work which fuses the traditional with the contemporary He
extracts a base tone from each rug that is echoed through-
out a room and accented with other hues
Drake enjoys placing rugs of different genres through-
out a project While pattern plays a role in his selection
color is the dominant consideration that he uses to con-
nect one rug with another If a living room rugrsquos field color
is green and its border red for example an adjoining
libraryrsquos rug field color could be red its border green More
important the respective tonalities of the floor and rug
must be in sync with each other A rug with deep satu-
rated colors looks best over a rich dark floor and vice
versa Drake has even been known to adjust a floorrsquos finish
to best enhance a rugrsquos beauty
Rugs played an essential role in Drakersquos renovation of
early-nineteenth-century Gracie Mansion New Yorkrsquos offi-
cial mayoral residence in 2002 He easily found rugs for
every room except the State Sitting Room which was hung
with a bold floral wallpaper The Drake design staff went
into overdrive frantically combing the entire rug market in
search of this elusive carpet Drake rejected over two dozen
pieces and the room remained unfinished only three days
before the installation Just hours before his deadline how-
ever the ideal rug materialized An antique Turkish Oushak
exhibiting an olive green field with accent details of camel
and cream played perfectly off the colors in the wallpaperrsquos
complex design and pulled the whole room together
Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
86
David Easton
After the architecture and the mantelpiece the carpet is the most important decorative
element in a space according to David Easton the neoclassic designer whose interiors
exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states
ldquoHow can you make any other decision in the room including the choice of sofa fabric
without itrdquo Easton professes a reverence for handmade rugs that is rooted in their
handcrafted quality and their deep-seated ancient traditions For him there is an almost
sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having
a painting on the floor It affects everything else in the roomrdquo he notes
For Easton the search for the perfect rug has taken him to
the four corners of the globemdashfrom Madeira to Istanbul
Bhutan and onto the Silk Road ldquoThe pursuit of the carpet
is a wonderful travelogue in itselfrdquo he says The thrill of
seeing rugs being washed in a river in Isfahan in Iran and
hand-knotted in Bucharest is to him as wonderful as see-
ing the actual end product Some of his clients have been
fortunate enough to travel with him deepening their
appreciation for the art form
Selecting the right rug for a space is all about establish-
ing harmony with the rest of a room to Easton who was
originally trained as an architect ldquoItrsquos like musicmdashthe mix-
ture of subtle colors and textures should be harmoniousrdquo
he remarks In his thirty-year career he has used a wealth
of rugs from Savonneries Portuguese needlepoints and
Persian Sultanabads to Scandinavian rya rugs and Tibetans
Regardless of provenance style or period a well-crafted
rug must to Easton feature a thin ribbed textured quality
typically characteristic of worn older pieces that suggests
what he calls ldquoa grace of agerdquo He states with characteristic
candor ldquoI do not like the cut pile lookrdquo
Regardless of the type the designer advises ldquoNever
buy a rug that is too sharp in color It should blend into the
totality of the room and the scale of its pattern must be in
proportion to that of the roomrdquo If a rug that catches his
eye is slightly off in size however he admits ldquoI would still
buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall
carpeting leads him to use handmade rugs in every room
except for kitchens He prefers to place rugs directly on
wood floors but he will also lay them over sustainable
sisal carpeting particularly in bedrooms to bestow a spe-
cial handcrafted aura on a space
A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
90 DAV I D E A S TO N
A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow
O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
DAV I D E A S TO N 93
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
DAV I D E A S TO N 93
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
fileT|Lyman_EmilyScribdRetailer20Pagesdecorative20carpet20buyonlinehtml[11102010 54822 PM]
To purchase a copy ofThe Decorative Carpet
visit one of these online retailers
A P P E N D I X 233
Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi
Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting
naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts
Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants
Amritsar
Amritsar northwest India circa 188013ft 7in by 25ft 10in
Amritsar northwest India early twentieth century13ft 10in by 15ft
Amritsar northwest India circa 1910 14ft 6in by 17ft
Amritsar northwest India circa 191011ft by 16ft 8in
Amritsar northwest India circa 19109ft 10in by 13ft 8in
Amritsar northwest India early twentieth century12ft 10in by 17ft 8in
232 A P P E N D I X
The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India
Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one
region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities
Agra
Agra India mid-nineteenth century11ft 10in by 16ft 3in
Agra India circa 189010ft 2in by 13ft 5in
Agra India circa 190010ft 10in by 11ft 7in
Agra India circa 192011ft 6in by 14ft 8in
New Agra-design rug Romania New Agra-design rug India
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