Rug of the Week Carpet #21055

Persian Rug #21055, size 18’0″ x 10’10”

Antique Northeast Persian Carpet

Khorassan Province

Later 18^th Century

Khorassan was a truly enormous Persian province, once extending all the way to the Oxus River, bordering on  true Central Asia. Even After the eastern parts were lost in the Afghan invasion after 1722, the province still encompassed vast areas of desert and steppe with important cities like Meshed and productive farmland. Carpet weaving in the area goes back centuries with Herat, the old capital and now in Afghanistan, famous in the 16^th century for its fine rugs. Our antique Persian carpet is not from Herat, but was probably woven in the area around Qain (the Qainat) or more likely in the town itself as it has, as we shall see, all the marks of an urban production of the period.

After the fall of the Persian Safavid ruling dynasty in 1722, there was a decided fall off in patronage as the nation descended into invasions and disorder.  As a result, the remaining carpet workshops cut costs to survive and this meant, among other things, the elaborate medallion designs and the designers who conceived them were replaced by repeating patterns derived from textiles which could be easily and elegantly executed in pieces of any size or format. Thus appeared the now iconically Persian Herati, Gol Hennai, Mina Khani and Boteh patterns. Our design is a particularly felicitous variant on the Gol Hennai pattern.  A primary diamond lattice is formed by a repeat of four cypresses or leaves framing a large rosette and smaller rosette bosses uniting the cypresses. A thinner, secondary lozenge lattice connects the cypresses and large rosettes. This pattern is found in both northeast and northwest Persian rugs, runner and large carpets.  As to where it originated, that is unsure, but by the early 19^th century it was in use both in Khorassan and in Azerbaijan in early antique Heriz carpets. In both areas light grounds, ivory as here, were the preferred overall tonalities.

The red-orange main border with in and out main palmettes, sickle leaves and smaller rosettes, all linked by double angular vines seems to appear about the same time as the field pattern, and the navy blue connected “S” guards are frequent accompaniments in both weaving areas. In sum, our 21055 is a perfect embodiment of a period style. Khorassan would thus seem to be the place of origin for the field /border design combination around 1750 or so.

The size and perfection of execution as indicated by the pattern balance in all directions implies an experienced and highly professional workshop working for discerning patrons who expected an artistically and technically superior product. Although many Persian carpets of the period are long and narrow, there are certainly exceptions and 21055 clearly predates the period of Western export demand.

The foundation is all cotton and the woolen pile is tied with the Khorassan version of the jufti knot (on four warps rather than two), giving a lighter handle than usual. In a culture where only unshod feet touch a carpet, this still gives plenty of wearability. Our piece is in good condition for its age and proper care will give it many more years of attractive appearance. All the colours are from natural sources; indigo for the blue and either madder or cochineal for the reds. Yes, you can make oranges from cochineal.

There are very few carpets of this post-Classic period surviving, especially in this large size and ultra-desirable colour scheme. Our carpet 21055 is a particularly attractive solution of a perennial question: how to cover a large floor area without excess busyness, keeping formality without rigidity and authenticity without making an overt issue of it.

Antique English Square Needlepoint Carpet

Needlepoint Carpet,size 15’0″ x 15’10”

French and English Victorian period needlework carpets are quite similar in both technique and in the repeating circle and square patterns, but English rugs are more often in light tones, as here, with seven rows and seven columns on an ivory ground. A square foliate/floriate lattice encloses several varieties of verdant bouquets, each of which is encircled by a laurel wreath. Roses are prominent among the seasonal English garden flowers in the bouquets. Smaller bouquets, in two alternating styles, are positioned at the crossing points of the lattice. There is no border beyond the lattice line. Each row of bouquets mixes several styles, giving a sense of variety. No two similar bouquets directly repeat either vertically or horizontally. Some bouquets are rotated 180 degrees. The colors of each bouquet type remain invariant throughout the carpet. Modular, repeating designs were popular in antique Victorian needlework carpets, and this allowed variations in size and format to be easily accommodated. Similarly, borders could mix and match with different field patterns.  Carpets were often the work of several embroiderers, each working on a separate square. The squares were subsequently joined and the joints covered by further stitchery.

By the late 19^th century, the saturated, dense tonalities of European needlework carpets were beginning to give way to lighter palettes, and this is especially evident in antique English needlework carpets.

Carpet 40-3796 has been lined and is in good condition.

21431 British Needlepoint: circa 1920

Made by Puntro Molley (?).  His needlepoint rugs were more appealing than others made at the time due to his varied use of different kinds of wool (thickness, sheen, etc) and varied stitching methods.  In one piece, perhaps 5-6 types of wool may have been used, creating a texture and look that is more interesting than others in the market.

His designs were usually based on 16-18th century english textiles.

One piece recently sold at auction for 120,000 just to give an idea of value.

http://rahmanan.com/inventory/show/21431/

Rug of the Week

Tekke Turkmen Rug, size 5’3″ x 4’0″

Tekke Turkmen Ensi

Middle 19^th Century

How can an antique Tekke Ensi be special? There must be a zillion of them (or more). But this not your grandfather’s Tekke Ensi. In fact, this rug is at a whole ‘another level. Take a good look and follow our list of special points. And these are not the only differentiating features. The more you look, the more you see. Our list includes:

1. The rare extra vertical panels repeating the main border design in the field quarters.
2. The apparently unique addition of horizontal bands in the same pattern above and below the central crossbar.
3. The unusual “bulls eye” spandrel panels which are more in the Yomud style than the (very usual) Tekke manner.
4. The extremely fine weave of around 220 knots per square inch.
5. The extremely wide jewel tone color palette including pale yellow, burnt apricot, two reds (blood red and warm madder), two cochineals, three blues (including an exceptional midnight), dark brown, dark green, ivory, brown; generally way wider than the usual six color Ensis.
6. The points on the central three vertical columns in section of the central axis.
7. Dots edging the stylized flower heads in the border.
8. The quincunx details in the top border.
9. The unusual triple lozenge fillers in the “mihrab” between the spandrels.

Probably a whole lot more of subtle details. This rug was not a commercial production, churned out ad seriatim by unrelenting Tekke women weavers. The woman who wove it was a true artist and the patron was someone of taste.  Their identities are obviously lost, but their contribution remains. This rug is a true labour of love.

The Ensi was supposedly used as a door rug on the Turk men round felt tent or yurt. Some examples still retain hanging ropes in the top corners, but our does not, and it is slightly taller than the usual antique examples, Bigger rug, bigger door, bigger tent, more important person. Some local big shot from around Merv just across from the Persian border who wanted the best. The work is exacting, the result truly collectible. There are other antique Tekke ensis, some older, some more archaic in design, but we have yet to find a similar gesamtkunstwerke