NW Persian Interpretation of Indian Prototype

#20419

Northwest Persian Gallery Carpet

Probably Kurdistan, Possibly Kolyai

6’4” x 15’8”

3^rd quarter 18^th Century

This antique gallery format carpet is a particularly fine example of a select group of Kurdish carpets accurately interpreting a 17^th century Mughal Indian Agra prototype.

The abrashed and slightly corroded brown field displays a complex, dense allover one-way pattern of three blossom flowers, small palmettes and geometric rosettes connected by fractional split arabesques and broken vertical staves.

Although the pattern seems to be textile-derived, in fact there are surviving Indian pile carpets with a virtually identical pattern.  Most salient are the split arabesques in ivory, yellow, red, and royal blue which delineate a quasi-lattice pattern.  The field is densely covered and there are no open areas.  The pattern is balanced in all directions, a sign of a skilled workshop.

The main navy border displays two types of palmettes, rosettes, and embracing pairs of lancet leaves, with matching ivory minor stripes of repeating, discrete squares of trefoiled double flowers.  These flowers appear exactly on contemporary Kirshehir Turkish rugs and later in the 19^th century on Luri tribal rugs.

The weave employs symmetric (Turkish) knots on a mixed foundation of cotton warps and single wool wefts between knot rows.  This structure is common in Kolyai Kurdish carpets of the period. The kelleh format is also a Kolyai specialty. A small number of these carpets are known, often with burgundy fields.  Ours is unusual for its brown ground.  All share the same design.  How a classic Indian carpet got to Kurdistan to copy is one of the many unsolved rug mysteries.  Add in the Turkish style minor borders and one has a doubly curious, but highly attractive and totally authentic carpet.  A few pieces in related patterns have been assigned to Malayer to the east on the basis of weave character, but they are of the same age.  A date for our piece at the 3^rd quarter of the 18^th century is quite acceptable.

To view this rug on our website, click here.

Verdure Landscape Tapestry with Birds

#20258

Tapestry Panel

Origin: Aubusson, France

Size: 10’9” x 13’8”

Circa: 1700

Material & Structure: Wool warp, 18 warps per inch; wool and silk pattern wefts, Z-2; woven sideways.

This extremely attractive verdure tapestry panel has a densely forested summer landscape in shades of blue and green occupying the right half.  Sunlight dapples the foliage.  A large and realistically rendered hawk dominates this part of the scene and is perched on a branch at the extreme right. On a nearby branch is a long-tailed parrot and there are several songbirds among the leaves.  At the bottom center is a pair of ring-necked birds, perhaps intended to be pheasants, but lacking their long, characteristic tails.  The tree foliage is schematically drawn, with simple rounded leaves on a variety of trunks.  The foreground flowers are more recognizable, however there are asters between the pheasants(?) and carnations in the far lower left corner.

The center is dominated by a classical ruined archway with engaged Corinthian columns.  The ruined archway is a trope taken from antique Roman buildings, triumphal arches in particular, and appears frequently in paintings by Poussin and his Roman followers. It obliquely refers to the antiquity and continuity of Roman civilization: while ruined, it still survives and dominates.  Framed by the arch is a rustic building, the outlier of the village, complete with a church, further to the left.

A large tree with blasted branches firmly closes the pastoral scene at the left. There are no people or human activities visible.  The general style is wholly consistent with the other Aubusson verdures of the period. Aubusson made a specialty of these panels, in a wide range of sizes, in the 17^th and 18^th centuries. An attribution to that center, in south central France, is therefore, wholly tenable. The colors are well preserved, especially the wide variety of blues and greens.

There are some minor repairs, but they do not affect the design. The present narrow dark blue slip perfectly frames the whole, replacing the original frame.

To view this tapestry on our website, click here.

Needlepoint Carpet with Roman Catholic Design

#20230

Needlepoint  Square Carpet

France

17’6” by 19’6”

circa 1870

Cotton foundation, wool needlepoint embroidery

This mosaic floor pattern wool needlepoint carpet was clearly  a special commission for a high-level Roman Catholic ecclesiastic, bishop and then archbishop / cardinal as indicated by the hats with tassels in the corners.  Each of these corners surmount a shield of arms, one of which displays the cross, another with a wreath bearing the inscription ‘pax’ or ‘peace’, and the other two more distinctly armorial, probably indicating the cleric’s family name.  The more tassels, the higher level the churchman.  Monsignors have the fewest tassels, archbishops at the cardinal level the most.  The archbishop/cardinal’s arms show a double-armed Cross of Lorraine surmounting a shield with a bend.  Another armorial shield shows a bend with a small lion beneath, and at the top an azure band with star and crescent ornamentation.  The Lorraine Cross may (or may not) indicate service in the capital city of Nancy.  Regardless, the original patron should, with further research, be identifiable. The shields indicate a patron of noble birth, as was the usual practice in the Catholic Church in France and Italy in the 19^th century. It was probably woven for a large reception room in the archiepiscopal palace of an important French city.

The pattern is a four-column row alternation of broad slate lozenges and narrow red dotted lozenges – the former with small, flowing detached leaf patterns.  The enclosed motives are either acanthus fringed circles with leafy crossed petals within smaller circles, or small diamonds with slender marigold leaf extensions.  There are small heart-shaped ivy leaf extenders at four points of the circles.  The field corners are beveled to accommodate the hats and shields.  The deep oxblood border shows an alternation of heart-shaped acanthus volutes, some with dark brown filling, some border-toned, with different cordiform motives with dot décor and lily filling.  The whole look is very 19^th century and there is only the very slightest Arts and Crafts (or the French equivalent) influence in the border.  The other secondary hues include straw, sand, green, red, and brown. The drawing is flat and two-dimensional except for the corner hats.

Attribution to a known manufacturer is impossible at present, but it may have been woven by any of the several firms active in Tournai at the time.

To view this rug on our website, click here.

Lively Haji-Jalili Tabriz Carpet

#20106

Origin: Persia

Region: NW Persia

Type: Tabriz Haji Jalili

Size: 12’ 9” x 20’ 6”

Circa 1890s

The rust red field displays an overall pattern derived from the general pool of Islamic textile motives, most specifically from the Persian 16^th and 17^th centuries.  The Tabriz carpet designers created thousands of distinct patterns based on this repertoire of rumis (split arabesques), islimis (curving vines), palmettes, flower heads, leaves and other quasi-vegetal ornaments.  The main border part takes elements of this same design. The cloud band minor borders descend almost directly from classical Persian prototypes of the 1^st half of the 16^th century.

The wool pile is typically Tabriz – brisk, erect, firm, and slightly dry.  In the best qualities it is an excellent long wearing material. In great part it originates in the immediate area and is processed in Tabriz where it is spun by hand via spindles rather than wheels.

The attribution to “Haji Jalili” is traditional. There are only a few carpets actually and unequivocally signed “Haji Jalili”.  The assumption of a much larger group is based on physical similarities: same knotting style and pile treatment, general quality, etc.  As of course, “Haji Jalili” if he is at all responsible for the carpet, did not actually weave it.  Indeed, he probably never laid a constructive hand on it.  The rug workshop consisted of actual weaving operatives, supervisors, managers and others responsible for the whole manufacturing and marketing process.  It is most appropriate to consider this term as a quality level rather than an attribution of origin.  Even though no archrival evidence has come to light confirming “Haji Jalil’s” ownership of a rug factory in Tabriz in the late 19^th century, the term is generally accepted as referring to a distinct group of carpets of high quality made from 1880 to 1900 in Tabriz often in very large sizes.

The color variation (Abrash) in the field may have several distinct causes. In such a large carpet they may have been an insufficient initial batch to complete the entire field. Since dyeing was even in the most accomplished ateliers, something of a hit or miss procedure, color matching may not have been entirely successful, or the dyes may have aged differently after matching initially on exposure to light and washing agents.  The color divergence may have developed over time.  Further, chemical treatment which in Tabriz meant a light wash in lime water and which was applied to most local production, may accentuate underlying differences.  The variation in the secondary colors may be a conscious choice to vary details in such a large rug.

The area near the border on one hand of variance may be a furniture mark, the result of protection from light by a chair or other piece of furniture. This area has a more saturated tone than the rest of the section.

Large Tabriz carpets of the late 19^th century are almost invariably custom orders from overseas clients via the dealer network in NY and London.  The large size indicates that the client was probably American.  

The almost complete lack of dark blue is quite unusual.  The rumi arabesque varies in color row wise along the length of the carpet, thereby giving a very large piece a sense of movement and lightness. This color change is subtler in the underlying islimis.  To add further interest, the field pattern is not exactly balanced top to bottom. Further, the paired curving leaves change color in succeeding rows. What could have been a monotonous creation has become a lively and movement filled piece. The development of the pattern is almost temporal, a progressive elaboration on a basic theme.  This “Haji Jalili” Tabriz carpet has all the characteristics of a sustained work of art.

To view this rug on our website, click here.

An Ode to Irish Weaving

Though Saint Patrick’s Day has come and gone, it seemed appropriate to do a small feature of Donegal Arts and Crafts carpets. 

Although carpet weaving in Donegal is an ancient tradition, the company Donegal Carpets was founded in 1898 by Scottish textile manufacturer Alexander Morton.  Over a period of time, Morton opened a total of 4 factories in County Donegal, putting to practice the techniques of the local people who had been working with wool for generations.

From the 1890s through the 1920s, Ireland experienced a cultural renaissance fueled by a desire to fashion distinctively Irish creations of excellent quality. This movement intertwined current social and political concerns, as notions of the past melded with visions for a better future.

Characteristics commonly associated with Donegal carpets are the use of bright colors, and large scale design elements.

To view our collection of antique Donegal Arts & Crafts carpets on our website click here.

Peking Carpet with Adapted Silk Textile Design

#19307

Beijing Carpet

Northeast China

370 x 417 cm

Circa 1880’s

The field design on this top condition antique Peking (Beijing) carpet is adapted from silk brocade textiles.

The beige field displays a taupe-rust allover pattern of grape leaves and short, curled arabesque segments accented by coiled, archaic navy dragons and tiny rosettes. The dragons center lightly defines eight lobed medallions.

The central dragon and its encircling double medallion are somewhat larger than the others. The dragons are in a 17^th century Ningxia style and ultimately depend on ancient archetypes on bronzes and ceramics.

The medallions are arranged in a 2-3-2-3-2-3-2 layout. The pattern stops just at the border frame and does not pass under it.

The ivory main border alternates ecru stencil-style lotus palmettes with bi-tonal medium blue and navy vine leaves, with attached tendrils. The plain outer border is in a rusty taupe shade.

There is light carving throughout to accentuate the pattern. The foundation is all cotton, and the Tibetan wool pile is of excellent quality. The handle is relatively pliable, and the texture is thick and meaty. This carpet has no repairs and is in top condition.

To view this rug on our website, click here.

Remarks on 2 Ningxia Daybed Covers or Small K’ang Format Rugs

#19168

Daybed Cover or Small K’ang Format Rug

Ningxia, North Central China

4’8” x 7’6”

Circa 1800

Structural Analysis:

Warp: cotton, off white, natural, Z-4-S, tightly plied;

Weft: cotton, off white, natural, Z-3,4-S, winder plied; two shoots alternating; some sections of weft passages fat and irregular;

Pile: wool, Z-3, Z-4;

Knot: PL/no alternate warp depression/6 per horizontal inch x 5 ½   per vertical inch = 33 per square inch [check for T knots along edges]

Weft/knots: 60/40.

Remarks:

The most interesting aspect of this Ningxia rug is the underlying allover pattern on the salmon buff (originally red) ground. Five scalloped medallions in a 2-1-2 layout are composed of peonies and sprays enclosing central fret elements. The larger, central motif on a yellow ground has peonies and sprays matching those of the lemon-yellow main border. Here the central device centers on a rosette. The subsidiary medallions are more overtly cruciform.

All these medallions are simply overlaid on a field of irregularly colored, but evenly positioned rosette dots. The continuous overall pattern passes beneath the medallions and borders. They do not interact with or attach to the textile spot pattern. These dots are a pile rendition of the effect produced by tie-dyeing nodes of fabric: The Chinese pu-lo technique. Although this attractive effect easily lends itself to rugs, actual surviving antique pieces seem to be quite rare and we have not been able to locate another early example in literature.

All four main border sections are symmetric out from their respective centers. The side borders have a “M” as midpoint while the end stripes employ peonies instead. The corners of the main border are formed from floriated sprays, the end ones compressed, and the side ones stretched. The salmon “T” fret inner border has more problems at the corners: there are three distinct attempts at resolution and only one at the top right and bottom left is successful.

In general, 19168 looks older than 20978 (seen below) and has a wholly distinct verso.

To view rug 19168 on our website, click here.

#20978

Daybed or Small Kang Formal Rug

Ningxia, North Central China

4’ 10”x 6’9”

circa 1800

Structural Analysis:

Warp:cotton,white,natural,Z-4-S,tightly twisted;

Weft: cotton, grey-white, mostly Z-4-S,some Z-2,3-S,winder plied, very soft and thick; two shoots alternating, straight to slack; some wefts more compacted than others;

Pile:wool,Z-3 or 4;

Knot: PL/no warp depression/horiz.5 x vertical 5 = 25 knots per square inch
[check for Knots along edges]

Sides: 1 cord of two body warps, closely weft covered;

Ends: n.o;

Weft/knot ratio:50/50 to slight knot predominance.

Remarks:

Irregular verso, large knots.

Ningxia rugs are not usually dark blue. This charming small rug has a broad circular lotus (or peony?) wreath encircling a central pair of lion dogs, the smaller clinging to the back of the larger. The lion dog of 20978 is distinctly roll-poly and friendly, not fierce or even barking. The lotus wreath is itself a collage, featuring lotus palmettes, intermediate peony leaf sprays and tiny fretwork sections.

The medallion is bracketed at each end by five tree peonies graded in size and framed by fret corners, each with two dragon heads. The overall effect is not far from the slightly larger Moore-Mumford no.285 daybed example, also with a dark blue ground. Here there are five peonies at each end of the field and a simple, singe larger polychrome cloud wreath around two distinct lion dogs.

The border of no.285 is a classic peony or lotus “S” pattern, whereas in 20978 there are thick dark blue leaves and diagonal small flowers in the scrollwork.  The field peonies of the two rugs are similarly stylized and geometric. The leaves and stems of 20978 are, however, more naturalistic than the correspondents of no.285.  In particular, the two-tone leaves of the latter are stiffer and less convincing than those of 20978.

The Moore-Mumford dog was rather optimistically dated to the late Kang-Hsi period, perhaps on the basis of the brocade pattern inner border, but given what is now known of the c.1700 design revolution in Ningxia, a date not far from 1800, or at least in the last quarter of the l8th century is much more possible.

To view rug 20978 on our website, click here.

Antique Agra Based on Famous “Sheikh Safi” Carpet

Rug #: 19006

Origin: India – north

Type: Agra

Size: 6’3” X 9’0”

Circa: 1890-1900s

Weave density:  450 knots/sq in

Warp: hand spun cotton

Weft: hand spun cotton

Pile: wool

Sides: 3 ply cotton

Main Colors:  wine red, ivory, soft yellow, charcoal black, royal blue, emerald green, soft aqua, peach and rose.

The present carpet originates in northern India, specifically in the city of Agra, where they have been weaving rugs dating back to Mughal period.  The town and surrounding regions have a long history of rug making dating back to at least to the beginning of 16^th century.

From the 16^th up to the end of 19^th century the most famous manufacturers of Indian carpets operated in the Agra region, weaving some of the best rugs coming out of the India.

Because of its location close to the Himalayas its breed of sheep produced the highest quality of wool, the cool temperature always cerates a very sturdy and lustrous grade of wool which is the main factor for Agras.  Hence, the rugs coming from this region all have the most lustrous and luxurious wool which over the span of decades has improved just by the simple process of being walked on.

Agras are amongst the most sought-after antique carpets in today’s market. Their gracious size, subtle color combinations, and uncluttered patterns make them appealingly adaptable to room settings of varied décor.  

Even today there are still many carpets being produced in the city of Agra and many of its surrounding regions.

Many Indian carpets from Agra region are inspired by Persian rugs, they mostly follow the same traditional designs found on Persian rugs, however they tend to be not as formal and their colors usually are not as dark as typical Persian carpets form the same period.

The design of this piece is based on the famous “Sheikh Safi” carpet in London’s Victoria & Albert museum.

The field design consists of a central medallion with 16 spandrels atop of a wine red field, interspersed with smaller angular floral motifs.  The corners are based on this same medallion style – sitting atop a trellis pattern of vines.

The rugs main border consists of meandering palmettes and stylized floral motifs atop of pale jade green background with accents of soft red, ivory and moss green, its flanked on each side by narrower guard borders with interlocking design of vine-leafs.

In our opinion the rug is very unique, and it is considered a one of kind piece.   Also, taking its age into consideration the piece is in the best of conditions.

To view this rug on our website, click here.

Graphic English Art Deco Carpet

#18992

English Art Deco Carpet

Possibly Designed by Marion Dorn

8’8” x 11’9” (2.64m by 3.58m)

Circa 1930’s

This carpet bears the partially illegible label of the Anglo … Carpet Company.  On an all wool foundation, with double wefts, it is coarsely symmetrically knotted in three-ply wool with a pile about ½ inch deep.  As is the case with the overwhelming majority of English 30’s Art Deco carpets, there is no border. The ivory ground displays diagonals with giant red spots and black/ivory scale patterns. The pattern is geometric, abstract and hard-edged, with no hint of floral or other realistic elements. However, the large dots have a mobility and seem to drift across the carpet.  There is nothing static about the layout, rather a strong sense of diagonal motion.

Marion Dorn (1899-1964), an American by birth, was active in Britain between the wars and worked with, among others, the Wilton Royal Carpet Factory in the late 1920’s.  She was not known to have collaborated with the Anglo … Carpet Company, however, hence the Dorn attribution is only speculative. The carpet is certainly in her style and no other English designer of the period was so strongly graphic. The strong abstract pattern is broadly similar to, but more mobile than, the black and white carpets she designed for Claridge’s Hotel c. 1935.  If the carpet is from another (now unknown) artist, it is certainly of high decorative quality.

The condition is excellent, and all finishes are intact. There are no repairs and it is completely original.

To view this rug on our website, click here.

Tapestry with Mythological Mélange

Tapestry No. 18445

Title: Mythological scene

Size: 10’6” x 15’6”

Period: Circa 1600

Origin: Brussels? No mark

Workshop: Unknown

Structure:

              Warp: wool, z-2-s, 13/in.

              Weft: wool, z-2, average 56/in.

Iconography: Pastiche of mythological elements.

Foreground figures:

1. At left Odysseus (Ulysses) shooting an arrow through a ring target. Taken from the episode from the Odyssey where the suitors of Penelope (see below) try to bend Odysseus’ bow (only he can do it); he shoots an arrow through a target of axes in sequence in the megaron (big room in the palace). Odysseus is often shown bearded, as is this figure.

2. At right, Penelope (Odysseus’ wife) who has been awaiting his return for years. She has been weaving a tapestry, promising to select a suitor from the crowd of potential mates when she finishes weaving. But she unravels it at night, so she hopes Odysseus can return.

3. The dog in the foreground is a well known symbol of fidelity, Penelope’s fidelity for Odysseus.

All the other characters are taken from other mythological sources.

So we have:

4. Hera (Juno) The elaborately dressed woman to Penelope’s left. Her symbol the peacock appears in the foreground.

At the table are:

5. Zeus (Jupiter), crowned, the king of the gods of Olympus being served by:

6.  Ganymede, the divine cupbearer;

7. Mars, at far left with sword, shield and helmet;

8. Possibly Hermes (Mercury), the divine messenger seated to the right of Jupiter with sword.

The other figures in exotic dress (Turbans; etc) are basically fillers in the composition.

The lute playing musician is at several removes taken from a 16^th century Italian print.

Tapestries were usually made in sets and this, therefore ought to be part of larger ensemble. But what? A story of Odysseus? Examples of Fidelity? A search of the literature, admittedly not complete, does not turn up any other example en suite – sharing a similar border, for example, and style of drawing.

The only other tale from classical mythology involving a woman weaving, is that of Arachne who Athena (Minerva) turned into a spider for her presumption to weave as well as the goddess. But that has only a group of woman as onlookers, not a mixed crowd of gods. And there are no tapestries of that subject matter known.

There is another Penelope panel, in Boston, depicting her alone, at her loom. French or Flemish, circa 1480. It is much smaller (5’1” x 3’4”) and part of a wholly distinct series depicting Virtuous women. There is, of course, no stylistic connection.

The border seems to retain elements of Mannerist origin: winged heads, strap-work fragments, shells, baldachins, as well as later acanthine rinceaux. This lacks the later elaborate, realistic three dimension al rendition of fruits & flauers of the 17^th century.

The workshop is probably not identifiable (lacking another example in the series with weaver’s signature or mark), although the border is somewhat distinctive. The rather schematic depiction of foliage implies a workshop outside of Brussels. The provincial character is also indicated by the non-symmetry of the long borders.  Also, the design center is to the left of the physical center, which would not have been acceptable in a more accomplished shop with higher quality control.

The pasticchio character of the scene also argues for a less sophisticated operation. Higher quality pieces are quite ichnographically exact and there is usually no confusion as to the personages, events, etc. The quality is decorative, perhaps made for speculative sale rather than for a patron’s special order with exacting requirements. The buyer wanted a colorful mythological effect without troubling himself with the exact meaning of it all.     

To view this tapestry on our website, click here.