6'7" x 10' Persian Isfahan Rug | Ivory All Over Floral Wool and Silk | Signed, Never Used

This is a signed workshop piece from the 2000s that has never been on a floor, and it shows: the ivory ground is still bright, the pile still stands upright, and the silk passages still flash when you walk around it. Woven at 6'7" x 10", it is the classic drawing room size, large enough to anchor a sofa group and small enough to lay square in a formal dining room. The cartouche at the base of the field carries a woven weaver name, which on a Persian Isfahan rug is the maker putting his name behind the loom. Every rug we ship carries our certificate of authenticity, and buyers shopping 7x10 Persian rugs will find very few in this condition with a signature attached.

Design and Motifs

There is no central medallion here. Instead the weaver has covered the whole ivory ground with an all over floral lattice of thin brown vines that curl, split and rejoin without ever colliding. Large lobed palmettes sit at the crossings, ringed by small 8 petal rosettes, star flowers and serrated leaves, and among them run big curling boteh forms and slender vase shapes that only reveal themselves in the close-up photograph. The drawing is fully curvilinear, which is the whole test of an Isfahan loom, and the mirrored repeat reads cleanly from either end of the rug. Around the field sit narrow guard stripes of connected cartouches and a wide main border of paired flowering stems arching over a camel ground, closed at each end by a matching pair of corner resolutions that turn the pattern correctly rather than cutting it off.

A Palette Built on Ivory, Blue and Garnet

The field is a warm undyed ivory, closer to fresh cream than to white, and it is what makes everything else legible. Against it the weaver has worked two distinct blues: a deep navy that outlines the palmettes and holds the drawing together, and a pale sky blue used inside the petals as a lift. Garnet red appears in measured doses, in flower centers and in a handful of full crimson rosettes that give the field its rhythm, while sage and pine green run through the leaves and the small vase forms. Soft rose, apricot and pale gold fill the smaller blossoms. The main border shifts to a camel taupe ground, a quieter tone that stops the ivory field and the navy guard stripes from competing. Where the silk is used, mostly in petal highlights and leaf tips, the color changes brightness as you cross the room, which is the effect no photograph fully captures.

Isfahan and the Weaving Behind It

Isfahan sits in central Persia and has been a weaving capital since the Safavid court workshops of the 16th century. Its reputation does not rest on wild color or unusual format; it rests on drawing, on the ability to hold a curved line through a flowing vine across 10 feet without the pattern drifting. That is only possible at a high knot count on a taut foundation, and the reverse of this rug shows exactly that: tight, even rows, a straight selvage and fine ivory warps. The wool is soft and lustrous, blended with silk in the highlight areas, and the pile has been clipped low so no detail is lost in the nap. Add the signed cartouche and the unused condition, and this is a city workshop piece bought to be kept rather than consumed.