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"throw rug" Definitions
  1. a rug of such a size that several can be used in a room

12 Sentences With "throw rug"

How to use throw rug in a sentence? Find typical usage patterns (collocations)/phrases/context for "throw rug" and check conjugation/comparative form for "throw rug". Mastering all the usages of "throw rug" from sentence examples published by news publications.

The attendant pointed to a creased throw rug on the floor.
Make a decision about your throw rug, which can present a trip hazard.
It is the neutral sofa to the patterned pillows and throw rug draped over it.
The blues and creams of the lobby extended here — a sizable throw rug of the same color palate covered much of the freshly finished dark wood floors.
That and the quiet, seething rage directed at the person who's been asking you if you really need another sheepskin throw rug all day that inevitably accompanies the purchase of that bag.
In front of the fireplace there is a tiger-skin rug, with the tiger's front canines preserved, and on the couches that frame the taxidermic throw rug are throw pillows in simple blue and white motifs.
That works out to about two hours for the N279S, the time it spends traversing the 13 x 33 foot concrete floor of my primary living area (an open-floor kitchen and living room with a throw rug) before automatically returning to the charger.
A blue-and-white buoy hung from the front door, which opened into a warm, uncarpeted knotty-pine clutter: a wood-burning stove with a throw rug in front of it for their large black Spinone Italiano, Stella; blanket-covered sofas; miniature trains on a windowsill; duck decoys and a stuffed-animal chimp; a Union Jack pinned to the back wall; a Smith-Corona manual typewriter on the kitchen counter, beside a table carved from a piece of pasture pine by Coleman's father.
The weapons were stowed under a compartment built into the stairs leading to the cabins, which was hidden by a throw rug. The yacht was registered to a Florida company, Nautical Sports, Inc., whose chief executive officer, director, secretary, and treasurer was Llama. On August 25, 1998, the United States Department of Justice (USDOJ) announced it had indicted Llama with conspiracy to murder Cuban leader, Fidel Castro.
Much of the literature on wandering concerns people who are residents of institutions. Studies on wandering from private residences are insufficient for comparison of prevention via drugs versus other methods. The risk of wandering can be reduced by several low-tech and minimally intrusive techniques, including: placing a visual barrier such as a curtain across a doorway or a small black area rug or a black throw rug in front of a door to mimic a hole thus discouraging elopement behaviors. Wandering can be due to a person searching for stimulation.
Scar makes a brief cameo in Disney's animated feature film Hercules (1997) in the form of a limp lion skin coat worn by Hercules, parodying the Nemean lion. This is also likely a reference to Zazu's remark (in the first film) that Scar would "make a very handsome throw rug" ("And just think: whenever he gets dirty, you can take him out and beat him!"). Scar's supervising animator Andreas Deja also served as the supervising animator of Hercules. Scar also makes a brief non- speaking cameo appearance in an episode of Timon & Pumbaa, despite that he is deceased at that time.
In 2006–2008 O'Neill participated in Pasifika Styles, an exhibition of fifteen New Zealand artists, mostly of Maori and Pacific Island descent, who were invited to make site-specific works throughout the Museum of Archaeology and Anthropology, University of Cambridge that responded to objects in the museum's collection. For her collaborative work The Living Room with Tracey Tawhaio O'Neill 'domesticated' a corner of the museum, creating a lounge setting. Tawhaio painted curvilinear designs over the gallery window and made wallpaper from newspaper overpainted with bright colours to obscure sections and highlight certain phrases; O'Neill customised a sofa that visitors were encouraged to sit on, covering it in floral fabric and a crocheted throw rug. Also included in the installation were photographs by Greg Semu and a monitor displaying a documentary commissioned from academic and broadcaster Lisa Tauoma featuring interviews with many of the artists included in the project.

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