A Museum of Masterpieces - SAFAVID CARPETS IN THE MUSEUM OF ISLAMIC ART, QATAR

PERSIAN CLASSICAL CARPETS

a museum of

masterpieces SAFAVID CARPETS IN THE MUSEUM OF ISLAMIC ART, QATAR MICHAEL FRANSES

Qatar’s new Museum of Islamic Art in Doha, capital of the oil-and gas-rich Gulf State, opens its doors to the public on 22 November 2008. In this, the first of an occasional series of articles on highlights of the collection, we concentrate on the group of Safavid Persian carpets acquired by the MIAQ over the course of the past decade from private collections and at public auction. This article is an extended version, with citations and references as well as additional images, of the abridgement published in HALI 155, Spring 2008, pp.72-89. purchased between between 1997 1997 and and 2005 2005 by by the the then then chairman chairman of of the the purchased country’s country’s National National Council Council for for Culture, Culture, Arts Arts and and Heritage, Heritage, Sheikh Sheikh 1 Saud Saud bin bin Mohammad Mohammad al-Thani, al-Thani,1 aa cousin cousin of of the the Emir, Emir, Sheikh Sheikh Hamad Hamad bin Khalifa Khalifa al-Thani. al-Thani. During During this this period, period, the the Qataris Qataris acquired acquired some some bin ninety classical classical and and tribal tribal carpets, carpets, kilims kilims and and textiles, textiles,22 mostly mostly ninety 3 from from the the 14th 14th to to early early 18th 18th centuries. centuries.3 II was introduced to Sheikh Saud in was introduced to Sheikh Saud in 1997, 1997, when when he he had had just just begun seeking historical carpets for a new museum of begun seeking historical carpets for a new museum of Islamic Islamic art to to be be built built in in Qatar.

Qatar.44 He He was was courteous, courteous, charming charming and and engengart agingly enthusiastic. agingly enthusiastic. His His first first request request was was how how to to acquire acquire aa complete complete library library of of carpet carpet books, books, his his second second was was to to see see images images of the greatest carpets still in private hands, and his third of the greatest carpets still in private hands, and his third was was to meet meet the the owners owners with with aa view view to to buying buying these these carpets carpets for for the the to museum. museum. He He was was not not interested interested in in merely merely assembling assembling aa comprecomprehensive hensive collection collection of of artefacts, artefacts, but but only only wanted wanted masterpieces. masterpieces.

At that time there were very few remarkable At that time there were very few remarkable carpets carpets available available on the the market, market, but but the the idea idea of of aa well-funded well-funded museum museum of of Islamic Islamic on 5 art art in in the the heart heart of of the the Arab Arab world, world,5 whose whose principal principal aim aim was was to to educate educate and and inspire inspire new new generations, generations, with with aa mission mission to to care care for for and and properly properly display display its its collections, collections, was was an an exciting exciting prospect. prospect. The The Wher Collection, Collection, the the largest largest Western Western private private holding holding of of museummuseumWher quality quality historical historical carpets, carpets, assembled assembled between between 1960 1960 and and 1990, 1990, was was an an obvious obvious first first port port of of call. call. We We were were also also able able to to persuade persuade sevseveral eral other other senior senior collectors, collectors, often often individuals individuals in in their their autumn autumn years who who were were concerned concerned about about the the future future custodianship custodianship of of years their their great great carpets carpets and and textiles, textiles, to to part part with with their their treasures. treasures.

The The Qataris Qataris were were able able to to take take advantage advantage of of the the fact fact that that few few other major collectors were actively buying historical other major collectors were actively buying historical carpets carpets of of the the types types prized prized by by previous previous generations, generations, either either privately privately or or at at auction. auction. For For reasons reasons of of availability, availability, cost cost and and space, space, as as well well as as changing tastes, general collector interest had become changing tastes, general collector interest had become mainly mainly focused focused on on more more recent recent tribal tribal rugs rugs and and textiles. textiles. Nor, Nor, in in general, general, over the past century, have Western museums purchased over the6 past century, have Western museums purchased such such 7 carpets. carpets.6 Most Most museum museum acquisitions acquisitions are are received received as as gifts, gifts,7 even even though though serious serious collectors collectors have have become become increasingly increasingly reluctant reluctant to to 1 HALI ISSUE 155 1 HALI ISSUE 155

give their their carpets carpets to to museums, museums, as as they they tend tend to to be be consigned consigned to to give deep storage storage and and are are only only rarely, rarely, if if ever, ever, displayed. displayed.88 Thus Thus aa wellwelldeep endowed endowed new new museum museum with with ambitious ambitious plans plans to to exhibit exhibit aa great great 9 carpet collection had an appeal that could not be carpet collection had an appeal that could not be denied. denied.9 Our interest interest here here centres centres on on the the art art of of the the Iranian Iranian carpet. carpet. With With Our 10 the decline decline of of Ilkhanid Ilkhanid rule rule in in the the mid-14th mid-14th century, century,10 Iran was was the Iran divided divided between between various various princes princes and and tribal tribal chiefs chiefs who who ruled ruled difdifferent ferent regions, regions, forming forming and and breaking breaking alliances alliances to to expand expand their their fiefdoms. fiefdoms. History History tells tells aa tale tale of of brothers brothers poisoning poisoning brothers brothers and and constant quest quest for for personal personal gain, gain, of of ferocious ferocious battles battles and and dreaddreadaa constant ful ful deeds, deeds, in in the the face face of of which which Islam Islam was was the the only only cohesive cohesive force. force.

It is hard to imagine that great art was created under It is hard to imagine that great art was created under these these circircumstances, cumstances, but but magnificent magnificent buildings, buildings, outstanding outstanding manuscripts, manuscripts, ceramics, metalwork, metalwork, wood-carving, wood-carving, textiles, textiles, glass glass and and poetry, poetry, ceramics, all all survive survive from from this this period. period.

But are But although although many many outstanding outstanding carpets carpets are depicted depicted in in IranIran11 11 no intact rug has been ian paintings from the 1350s to the 1450s, ian paintings from the 1350s to the 1450s, no intact rug12has been attributed to to the the Timurid Timurid period, period, only only small small fragments. fragments.12 The The oldoldattributed est complete Iranian carpets known today probably est complete Iranian carpets known today probably date date from from the the second century, and can be attributed to centres second half half of of the the 15th 15th century, and can be attributed to centres 13 14 15 that that include include Tabriz, Tabriz,13 central, central,14 and and eastern eastern Iran.

Iran.15 In In 1502, 1502, Shah Shah Ismail of of the the Safavid Safavid clan clan in in Ardabil Ardabil seized seized control control of of the the whole whole Ismail of of northwestern northwestern Iran, Iran, and and 16by by 1509 1509 he he had had reunified reunified the the whole whole 16 country under Shia Islam. country under Shia Islam.

The The Safavids Safavids ruled ruled until until 1736.

1736. Some Some of of the the greatest greatest Iranian Iranian carcarpets were made during the 16th and 17th centuries, and pets were made during the 16th and 17th centuries, and at at least least 1,500 1,500 examples examples survive survive from from this this period, period, some some complete, complete, aa few few in pristine condition, others worn and tired, and in pristine condition, others worn and tired, and many many fragments. fragments.

We We are are able able to to group group together together those those that that share share similar similar materials materials and construction, which suggest that they were and construction, which suggest that they were from from the the same same region, region, city, city, workshop workshop or or loom. loom. We We also also are are able able to to form form groups groups with with similar similar compositions compositions but but different different techniques, techniques, indicating indicating that that designs designs were were shared, shared, borrowed borrowed or or copied copied in in different different workworkshops and regions. shops and regions.

European European travellers travellers to to the the Safavid Safavid realm realm in in the the 16th 16th century century such such as Chevalier Chardin, Joan Cunaeus, Thomas Herbert, as Chevalier Chardin, Joan Cunaeus, Thomas Herbert, Thadaeo Thadaeo

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THE MAJOR MAJOR PART PART of of the the MIAQ MIAQ oriental oriental rug rug collection collection was was THE

PERSIAN CLASSICAL CARPETS Krusinski, Anthony Sherley, Jean-Baptiste Tavernier and Pietro Della Valle report that carpets were made in many centres, including Tabriz, Hamadan, Mosul, Baghdad, Kazvin, Kashan, Esfahan, Kerman, Yazd, Herat and Mashad, but few groups can be attributed to a particular city, and even those with little certainty. No carpets survive with accompanying documents telling where, when and by whom they were made. And while certain types of Iranian carpets are depicted in European paintings from the late 16th century onwards, this confirms only that they were in vogue, not when they were made or imported: there are contemporaneous documents regarding the importation of Iranian carpets, but the descriptions are too vague to identify them as specific types.

We may, of course, fairly reliably date certain Iranian classical carpets by direct comparison with the small number of inscribed and/or dated examples,17 or with the very few that can be identified in 16th century documents such as inventories. But none of the latter records indicate any place of manufacture. The only method for suggesting the possible origin of surviving carpets is thus based upon grouping together examples that share specific technical or material features, and linking them either to carpets from the 18th century or later that have known origins (Khorasan and Kerman), or with the few examples for which there is reasonable documentary evidence of origin. For example, the majority of the silk-pile ‘Polonaise’ rugs can be safely assigned to Esfahan.18 For other Iranian carpets from this period, determining their source is extremely difficult, but by forming clusters of related pieces (with, for example, identical minor borders or specific colours), and then proposing sequences from one cluster to another, using the few fixed points as ‘anchors’, it is possible to suggest likely attributions.

Between 1996 and 2005 the MIAQ acquired ten complete Safavid carpets and three fragments.19 These represent workshops in Tabriz, Kashan, Esfahan, Kerman and Herat (Khorasan), covering several of the main areas of Safavid carpet weaving from the early 16th century to the late 17th century. The Kerman and Khorasan examples are unexceptional, but those from Tabriz, Kashan and Esfahan must be regarded as among the greatest examples known.

1 THE ROTHSCHILD TABRIZ MEDALLION CARPET This supremely beautiful carpet, with lustrous, high pile and fresh colours that are little changed since the day it was made, is the best-preserved classical Tabriz carpet extant 1.20 On most examples, particularly those with red grounds, the red lac dye has corroded or worn. The intricacies of the design stand out against the dark blue ground, and combine with carefully formed large areas of colour – red, yellow, light blue and ivory – to give a balance and harmony that is rarely equalled.

The design combines a centralised composition, based on the medallion form with quartered medallions in the corners, and an underlying endless repeat pattern. The border appears to overlay the field, offering just a glimpse of a much larger scheme in which, if we imagine the quarter medallions in their complete form, red- and ivory-ground medallions alternate diagonally.

The sixteen-lobed central medallion is outlined by a wide light blue band, and its red ground is filled with arabesques and palmettes, with a yellow star set on a dark blue ground in the middle; at each end is a yellow cartouche and a red pendant, both surrounded by the same wide light blue band. The quartered corner medallions have a different scheme, although their half-cartouches on light blue and pendants on ivory repeat the central cartouches and pendants. The deep blue field is filled with continuous tiny stems, from which protrude small side-view f lowers and palmettes.

Overlaid on this are large elegant cloudbands in red, blue and ivory, tan and pink. The stems carefully wind their way between the medallions, filling the field with a f loral pattern. The cloudbands pass under the medallion in just a few places, to reappear elsewhere, whereas in other related examples the medallion appears superimposed on the predominant background pattern.

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against a red ground. In some Iranian carpets, such as the dated Ardabil medallion pair in London and Los Angeles, the cartouches are separated from the lobed medallions. The scheme used here, where the patterns appear overlaid or interlocking, can be seen on a number of other Tabriz carpets as well as on examples from other centres.21 While admiring its immediate beauty, it is useful not only to compare the Rothschild Tabriz to similar examples, but also to consider its great rarity. I know of 32 complete ‘Tabriz’ carpets made between the late 15th and early 17th centuries, a further 21 that have been either reduced in length or are missing borders, and some 15 small fragments of field and border from different carpets, as well as one multiple-niche prayer carpet or saf, and two prayer rugs. Thus the entire surviving corpus of Tabriz carpets from this period amounts to not much more than seventy pieces.22 Twenty-seven of these have secondary quarter-medallions in the corners, only two have pendants and just one, the dated Pope Pius IX hunting carpet in the Poldi Pezzoli Museum,23 has a cartouche and pendant hanging from the secondary medallion.

The border most often found on classical Tabriz carpets is a strap-work pattern composed of large palmettes linked by two levels of strap-work bands in different colours, one passing above the other (28 examples). Nine Tabriz carpets have borders with cartouches alternating with lobed medallions (in one the pattern is repeated in two rows, in another the cartouches are placed on their sides); just seven have an interlocking cartouche and lobed medallion border, as here; other border designs on the great Tabriz carpets include palmettes, spiral arabesques and half-medallions.

Of the seventy known classical Tabriz carpets, three are closest to the Rothschild, having lobed medallions with cartouches and pendants on the central axes, and a field with large multi-coloured

1 The Rothschild Tabriz medallion carpet (right, and detail above), northwest Iran, circa 1550. Wool pile on a cotton foundation, 3.56 x 6.58m (11'8" x 21'7").

MIAQ, no.CA20.

Photo courtesy Christie’s, London

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cloudbands enclosed by an interlocking cartouche and crenellated medallion border: the Yerkes-Blumenthal in the Metropolitan Museum, New York; the McMullan-Chicago in the Art Institute; and the Asfar-Sarkis in a private collection in Geneva.24 The finest classical Tabriz carpets, such as the Bode (Berlin) and the Mackay (Los Angeles) pair, were probably made for the court. A few examples appear substantially older than others and may represent the earliest survivors, from the 15th century, but the majority dates from the 16th century. They were no doubt made in considerable numbers and in a variety of qualities and formats.

What is most surprising is that no more than two – the small prayer rugs – seem to have survived in Iran.25 The extant examples were exported at various times: some went through Istanbul,26 others found their way to Italy, and yet more must have been sold through Hormuz to the Portuguese, as classical Tabriz carpets served as models for Araiallos carpets of the 16th and 17th centuries.

It is not known how the Rothschild family acquired this carpet. While it may already have been in Vienna by 1891, it was not in the great Vienna exhibition. Following the Anschluss in 1938, it was seized from Barons Nathaniel and Albert von Rothschild and placed in the Austrian State Museum. It was first published in 1951,27 and not again until 1999, when the Austrian Government returned it to the Rothschild heirs, who sold it at auction in London in July that year.

Christie’s William Robinson wrote of it that: “The carpet is very close to the [Asfar-Sarkis] in its design structure but it has lost the restraint and integrity of the early examples. The medallion no longer arbitrarily overlays the field design. Instead, the field motifs are worked to emphasise the centrality of the medallion, which in turn has a more obvious balance with the spandrels. The width is slightly greater in proportion to the length compared to the early carpets, therefore appearing more generous. The border design is also simplified into overlapping cartouches and roundels. At the same time the colour scheme has been enlivened to a remarkable brilliance, showing the Safavid love of colour winning through over the Timurid exactitude of design.”28 The Yerkes-Blumenthal and McMullan-Chicago carpets may be as early the second half of the 15th century and no later than the early 16th. They appear to be at least a generation older than the Afsar-Sarkis, which in turn is probably older than the Rothschild. While its overall pattern can be compared with the three carpets cited, its colouration, proportions and minor borders are much more like the dated Pius IX hunting carpet, which has a better-conceived lobed-medallion. There seems no reason to date the Rothschild any later than the end of the second quarter of the 16th century, during the reign of Shah Tahmasp, one of the most perfect large carpets from his reign.

2 THE SARRE ARDABIL SHRINE ANIMAL CARPET The significance of this beautiful carpet lies not simply in its superb quality, fabulous wool, glorious colours and perfect draughtsmanship 2, but also in its pedigree. Late in December 1891, the firm of Vincent Robinson & Co., of Wigmore Street, Cavendish Square, London W1, reportedly received from the Manchester-based carpet import and manufacturing firm Zeigler & Co.29 four 16th century Iranian carpets that were reputed to have come from the Shrine in Ardabil of Sheikh Safi al-Din (1252-1334), a direct descendant of the Prophet. The Shrine formed part of the Holy Mosque of Ardabil, the historic home of the Safavids,30 and the carpets may have been a gift to the mosque from Shah Tahmasp (1524-1576), the second Safavid ruler, who may have walked on them when visiting the Shrine.

By the late 19th century the Shrine was in a desperate state of repair, and it is said that four carpets were sold to fund its restoration, although no documents survive to support this claim.

The famous four consisted of two pairs. The medallion carpets – now in the Victoria & Albert Museum, London, and the Los Angeles County Museum of Art – are the best known.31 Equally impressive, however, is the almost exact pair of animal carpets, 5 HALI ISSUE 155

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PERSIAN CLASSICAL CARPETS

now divided between the Metropolitan Museum of Art, New York,32 and the MIAQ.33 In 1892, Edward Stebbing, managing director of Vincent Robinson & Co., published a monograph on The Holy Carpet of the Mosque at Ardebil and arranged a two-week exhibition, including the London medallion carpet and the MIAQ animal carpet.34 The firm did not announce that either carpet had a pair, possibly because this was thought to diminish their importance and worth.35 Furthermore, sections of the Los Angeles carpet were required to complete the missing parts of its London twin, which was later offered in ‘pristine’ condition. Some doubt has been cast on whether or not these carpets actually came from Ardabil, because an ex-employee of Robinson’s apparently reported that at least one carpet had in fact come from the Shrine of Imam Reza in Mashad.36 However, apart from the history presented by Vincent Robinson & Co., an eyewitness report suggests strongly that the medallion carpets were from Ardabil,37 and their association with the Shrine was convincingly argued by Donald King in 1996.38 It is most likely that the animal carpets came from the same place at the same time. Irrespective of their original source, their provenance, quality of manufacture and sublime beauty

2 The Sarre Ardabil Shrine animal carpet (right, and details above and on p.2), probably Kashan, central Iran, mid-16th century. Wool pile with small areas of silk-cored metalthread plainweave on a silk foundation 1.83 x 3.54m (6'0" x 11'7").

MIAQ, no.CA4.

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consists here of fine tendrils with arabesques and f lowers.”44 In 1938, Arthur Upham Pope attributed the Yerkes animal carpet to Tabriz, along with the Ardabil medallion carpets and a number of others which today we consider to be from central Iran.

He also dated the carpet considerably later, to the reign of Shah Abbas. This is not surprising, as once he had ascribed it to Tabriz he had no option but to place it further away in time from the great Tabriz medallion carpets of the 15th century and 16th centuries.

Closer examination of the structure and style should have given him a clue that the Ardabil carpets might have been made somewhere where other other than than Tabriz, Tabriz, and and in in the the earlier earlier reign reign of of Shah Shah Tahmasp.

Tahmasp.

Perhaps he should simply have compared the Ardabil Perhaps he should simply have compared the Ardabil animal animal 45 carpet with with the the small small silk silk Kashan Kashan animal animal rugs. rugs.45 Some 35 35 years years carpet Some 46 later, Maurice Maurice Dimand Dimand was was still still proposing proposing aa Tabriz Tabriz attribution, attribution,46 later, although at least he dated the rug more correctly to between although at least he dated the rug more correctly to between 1524 1524 and and 1550.

1550. How How he he resolved resolved the the differences differences between between this this carpet and and the the great great carpets carpets from from Tabriz Tabriz no no one one will will ever ever know. know. carpet In 1985, 1985, II was was able able to to examine examine both both the the famous famous Kelekian Kelekian prayer prayer In 47 48 rug rug (in (in Paris), Paris),47 and and the the Sarre Sarre animal animal carpet carpet (in (in New New York).

York).48 II was was struck struck by by their their similarities similarities of of weave weave and and colour, colour, but but was was unable to compare them side-by-side.

However, in 2004, unable to compare them side-by-side. However, in 2004, when when they were were both both at at Longevity Longevity Conservation Conservation Studio Studio in in London, London, II they found found the the similarities similarities so so great great that that II concluded concluded they they were were from from 49 the same workshop and possibly even by the same hand. the same workshop and possibly even by the same hand.49 The The type type of of warp-wrapped warp-wrapped metal metal thread thread used used can can be be found found on on many many other 16th 16th century century Iranian Iranian wool wool pile pile rugs rugs (including (including the the ‘Salting’ ‘Salting’ other 50 group group of of medallion medallion rugs rugs and and related related ‘Topkapı’ ‘Topkapı’ prayer prayer rugs, rugs,50 which which are are most most likely likely to to have have been been made made in in Kashan).

Kashan). There There are are also also aa number number of of other other types types of of wool wool pile pile carpets carpets with with metal metal thread thread from other centres in central Iran, such as the Enzenberg from other centres in central Iran, such as the Enzenberg Esfahan Esfahan 51 carpet. carpet.51 Metal Metal thread thread and and the the methods methods of of wrapping wrapping are are discusdiscussed sed below, below, in in the the context context of of the the Rothschild Rothschild ‘Polonaise’ ‘Polonaise’ rug rug 6.

6.

3 3 THE THE SCHWARZENBERG SCHWARZENBERG ‘PARADISE ‘PARADISE PARK’ PARK’ CARPET CARPET The creation of heaven on earth, the idea of a great walled garden The creation of heaven on earth, the idea of a great walled garden where nature could be controlled, animals contained for hunting, where nature could be controlled, animals contained for hunting, and every variety of tree could be planted, has been one of the and every variety of tree could be planted, has been one of the aspirations of the rulers of Iran for more than two thousand aspirations of the rulers of Iran for more than two thousand years. Around 540 BC, Cyrus the Great built the largest and most years. Around 540 BC, Cyrus the Great built the largest and most beautiful formal garden ever created at his capital Pasargadae, beautiful formal garden ever created at his capital Pasargadae, northeast of Shiraz. It was surrounded by a wall not only to northeast of Shiraz. It was surrounded by a wall not only to protect the garden from the encroaching sands, but also to keep protect the garden from the encroaching sands, but also to keep certain wild animals out and others in, for hunting. It is said certain wild animals out and others in, for hunting. It is said that Cyrus himself designed the layout, with rows of f lowering that Cyrus himself designed the layout, with rows of f lowering trees, shrubs, fruits, vegetables and f lowers from across his trees, shrubs, fruits, vegetables and f lowers from across his empire, and planted many of the trees himself. Many stone empire, and planted many of the trees himself. Many stone watercourses were created, some of which are still in place watercourses were created, some of which are still in place today. This famous garden, which Cyrus called ‘Paradaiza’, has today. This famous garden, which Cyrus called ‘Paradaiza’, has become known as his ‘Paradise Park’. become known as his ‘Paradise Park’.

Gardens and the quest for paradise have been fundamental to Gardens and the quest for paradise have been fundamental to Iranian thought ever since, and are continuously expressed in Iranian thought ever since, and are continuously expressed in poetry, literature and painting. The carpet is a mirror of heaven poetry, literature and painting. The carpet is a mirror of heaven and a transportable ground plan – what better medium of artisand a transportable ground plan – what better medium of artistic expression could have been created for the garden, as the tic expression could created for move the garden, as the essence of Iranian lifehave has been always been the between sumessence of Iranian life has always been the move between summer and winter quarters. To be able simply to roll up and carry mer and winter quarters.

To be able simply to roll up and carry one’s personal garden must have had tremendous appeal to poor one’s personal must have had‘Paradise tremendous appeal tocarpoor and rich alike. garden The most sumptuous Park’ garden and Thefor most ‘Paradise garden carpets rich werealike. created the sumptuous nobility, and it is thePark’ few examples of pets werethat created for the nobility, and period, it is the the fewgolden examples this type survive from the Safavid ageof of this typeart, that survive from the Safavid period, the golden age of Iranian that will be considered here.

Iranian art, that willofbe considered here.

The first record a ‘garden’ carpet is from the 6th century.

The firsttorecord of a at ‘garden’ carpet isPalace from the 6thSasanian century.

According al Tabari, the Ctesiphon of the According to al Tabari, at the Ctesiphon Palace of the Sasanian King Khosrow I (531-579 AD) was “a huge carpet, depicting a King I (531-579 AD) trees was “a huge carpet,spring depicting a gardenKhosrow with streams and paths, and beautiful f lowers. garden with streams and paths, trees and beautiful spring f lowers.

The wide border all round showed f lower-beds of various colourThe wide roundblue, showed lower-beds of various colouring, the ‘fborder lowers’allbeing red,fyellow, or white stones.

The ing, thewas ‘f lowers’ beingtoblue, or white ground yellowish, lookred, likeyellow, earth, and it wasstones. workedThe in ground was yellowish, to look were like earth, and was worked in gold. The edges of the streams worked initstripes, and betgold. The edges of the streams were worked in stripes, and bet-

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rank the famous four among the greatest Safavid carpets ever made.

In 1908, when Friedrich Sarre and Fredrik Martin published their supplemental volume to the great Vienna work of 1896, they included the MIAQ animal carpet, which had gone from Robinson’s to Adolph Thiem, and thence to Sarre, who later loaned it to the Paris exhibition of 1903 and to the great Munich Islamic art exhibition in 1910. It is not known when Sarre acquired the animal carpet, but he made no mention of a pair to it, nor of a pair to the London medallion carpet, but would surely have done so had he known about them. It seems that Robinson’s had sold the the second second medallion medallion and and animal animal carpets carpets to to their their client client Charles Charles Tyson Yerkes in New York, and their existence remained Tyson Yerkes in New York, and their existence remained aa secret secret for some some 18 18 years. years.3939 The The Yerkes Yerkes Ardabil Ardabil animal animal carpet carpet was was bought bought for by the the Metropolitan Metropolitan Museum Museum of of Art Art at at the the Yerkes Yerkes sale sale in in April April by 1910, 1910, and and was was included included in in their their ‘Loan ‘Loan Exhibition Exhibition of of Early Early Oriental Oriental Rugs’ in November the same year.

It was described Rugs’ in November the same year. It was described in in the the catacatalogue by

by Wilhelm Wilhelm R. R. Valentiner: Valentiner: “On “On aa claret claret ground, ground, aa balanced balanced logue design repeating repeating the the motives motives of of aa lion lion and and jackal jackal attacking attacking aa design black black Chinese Chinese deer deer spotted spotted with with yellow, yellow, and and of of running running boars boars and and other other animals; animals; further further enriched enriched with with peony peony ff lowers, lowers, partpart40 ially ially executed executed in in silver”. silver”.40 Sarre’s Sarre’s carpet carpet was was later later sold sold to to John John D. Rockefeller, Rockefeller, Jr., Jr.,4141 and and passed passed thence thence to to his his son son John John D. D. D. Rockefeller III, Rockefeller III, who who in in the the early early 1970s 1970s sold sold it it to to aa New New York York 42 dealer. dealer.42 It It was was acquired acquired by by the the MIAQ MIAQ in in 2002.

2002.

It It is is unlikely unlikely that that the the Ardabil Ardabil animal animal carpets carpets were were made made in in either Tabriz Tabriz or or Ardabil, Ardabil, as as has has been been suggested suggested by by others. others. Many Many either features features of of their their design, design, colours colours and and weave weave relate relate them them to to carpets carpets attributed to central Iran, possibly Kashan, several hundred attributed to central Iran, possibly Kashan, several hundred miles miles southeast southeast of of Ardabil.

Ardabil. In In 1893, 1893, Stebbing Stebbing attributed attributed the the MIAQ MIAQ animal animal carpet carpet to to early early 16th 16th century century Kashan Kashan and and described described it it thus: thus: “A “A ff loral loral tracery tracery of of soft soft colouring colouring on on aa deep deep red red ground ground forms forms the the body body of of the the carpet, carpet, aa large large number number of of the the ff lowers lowers being being worked worked with with great great delicacy, as it were in relief, on a base of silk-covered wire skildelicacy, as it were in relief, on a base of silk-covered wire skilfully introduced to give strength to the fabric, the whole treatfully introduced to give strength to the fabric, the whole treatment subordinate to a display of animal life, arranged in groups ment subordinate to a display of animal life, arranged in groups or pairs across the carpet. Ten groups represent a dappled stag, or pairs across the carpet. Ten groups represent a dappled stag, pulled to the ground by a lion, and seized at the same time by a pulled to the ground by a lion, and seized at the same time by a tiger. In addition to these groups, ten wild boars are represented tiger. In addition to these groups, ten wild boars are represented in full f light, the drawing strikingly recalling one of the animals in full f light, the drawing strikingly recalling one of the animals represented in the rock-cut sculptures of Tank-e-bostan, near represented in the rock-cut sculptures of Tank-e-bostan, near Kermanshah, dating from AD 400. There are also ten large animals, Kermanshah, dating from AD 400. There are also ten large animals, perhaps bears, and twenty of smaller size, all drawn with great perhaps bears, and twenty of smaller size, all drawn with great freedom. Border: deep blue ground, relieved by a regular but confreedom. Border: deep blue ground, relieved by a regular but conventional treatment of the ‘cloud’ pattern in pink, and a very ventional treatment of the ‘cloud’ pattern in pink, and a very beautiful interlacing treble trellis of buff, light blue, and green, beautiful interlacing treble trellis of buff, light blue, and green, the latter connected, at intervals of about six inches, by f lowers the latter connected, at intervals of about six inches, by f lowers woven in relief, as explained above, on a f lat ground of white, with woven in relief, as explained above, on a f lat ground of white, with a raised pile in blue and red. A narrow band of cream, relieved a raised pile in blue and red. A narrow band of cream, relieved by a coloured tracery, separates the border from the centre, and by a coloured tracery, separates the border from the centre,43and a similar band of red completes the carpet on the outside.”43 a similar band of red completes the carpet on the outside.”

Writing about the carpet in 1908, Sarre stated: “The intrusion of Writing about the carpet in 1908, Sarre stated: “The intrusion of the Chinese element is of considerable assistance in the classifithe Chinese element is of considerable assistance in the classification and fixing the time of manufacture of the Persian carpets cation and fixing the time of manufacture of the Persian carpets of the 16th century. To the first and earliest group, which we place of To16th the first and we earliest group, wewhich place in the the 16th first century. half of the century, assign thosewhich carpets in the first half of the 16th century, we assign those carpets which show a design for the middle field consisting of the thin tendril show design forand thepeony middle field consisting of the thinsymmettendril tracerya with star blossoms… interspersed with tracery with star and peony blossoms… interspersed with symmetrical animal figures. The exceptionally finely woven carpet in the rical animalof figures.

The exceptionally woven carpet in the possession the author, may serve asfinely an example, in which the possession of the author, may serve as an example, in which the red background is covered with fine tendril tracery, inter-worked red background is covered with fine tendril tracery, inter-worked with portions of peony f lowers in silver thread, and on which with portions of peony f lowers silver thread, and on which diverse specimens of Persian faunainare symmetrically grouped, i.e., diverse specimens ofwhite Persian faunaattacked are symmetrically grouped, i.e., the black deer with spots, by a lion and a panther, the black deer with white spots, attacked by a lion and a panther, wolves, bears, lynxes and foxes. The colouring of the animals is wolves, lynxes and foxes.

Thefancy colouring of the so animals not true bears, to nature but chosen by the of the artist, brownis not true to nature but chosen by the fancy of the artist, so and also light green bears occur side by side. While two brown narrow and green occur side by side. While two narrow littlealso sidelight borders, inbears carefully chosen colours, show arabesques little side borders, carefully chosen colours, show and f lower tendrils,inthe cloud band in the broad, darkarabesques blue middle and f lower tendrils, the cloud band in the broad, darkthe bluedesign middle border is especially effective. Besides the cloud band border is especially effective. Besides the cloud band the design

ween them stones bright as crystal gave the illusion of water, the size of the pebbles being what pearls might be. The stalks and branches were gold or silver, the leaves of trees and f lowers made of silk, like the rest of the plants, and the fruits were coloured stones.”54 The term ‘Paradise Park’ is used here to describe the field pattern of seven great 16th century Iranian carpet masterpieces.

Qatar’s Schwarzenberg carpet 3 is one of these, the others being the Mantes Cathedral carpet in the Louvre, Paris; the Stieglitz carpet in the Hermitage, St Petersburg; the Mackay carpet in the Los Angeles County Museum of Art; its identical pair, the Bode carpet, now largely destroyed, in the Museum of Islamic Art, Berlin; the Hatvany carpet fragments, in the Brooklyn Museum and elsewhere; and the carpet divided between the Musée des Arts Décoratifs, Paris, and Wawel Castle, Cracow.55 Three of these carpets, the Schwarzenberg,56 the Mantes and the Mackay, are virtually complete, and a fourth, the Paris-Cracow, would be if the two halves were re-united. The upper half of the Stieglitz is intact, but the lower half is missing; the Bode and the Hatvany are now just fragments.

There is little about these beautiful carpets (apart from the Mackay/Bode pair) to suggest they were the work of a single artist, as the style of drawing of the ornaments varies quite considerably. Nor do their features suggest that they were produced by a specific workshop: they have quite different border patterns, colours, wool and weave. But they include a number of specific motifs or features, whose combination (they are seen individually on other 16th century Iranian carpets) identifies the ‘Paradise Park’ design: a central medallion with a pendant at each end and a cartouche or palmette between the pendant and the medallion, on a vertically and horizontally symmetrical field with each quarter mirrored around the centre;57 large paired cypress trees; deciduous trees with five-petalled f lowers; Chinese phoenixes (fenghuang), leopards, lions, deer and f lying birds. Three also have dragons, three have houris, three have peacocks, four have ducks and two have fish. Although the patterns in the medallions, main borders and minor borders are related through various features, none have the same overall composition, drawing or even style.

Susan Day has suggested, as have others, “that artists and craftsmen were frequently shunted back and forth between the cities at the whim of the monarch”,58 but no evidence for this is presented. If the same group of designers and weavers moved from city to city, one would see much closer connections such as identical minor border patterns or the drawing of individual ornaments. There are no such close connections. We may therefore assume that whatever style was in fashion at a particular time was interpreted by different weavers in diverse locations.

There are relationships in the way that certain trees or animal combats are composed, perhaps indicating that detailed drawings of these motifs were circulated, but that the overall compositions were less precise, allowing an individual style for each workshop where the ‘Paradise Park’ carpets were woven.

The ‘Paradise Park’ carpets have been considered by almost every historian of oriental carpets during the past century. In addition to the seven carpets cited above, a further eight important 16th century Safavid carpets are often compared to the Schwarzenberg, through various aspects of design, colour, weave and style. These are the Anhalt carpet in the Metropolitan Museum, New York; the Fossati ‘Darius of the Universe’ carpet in the Poldi Pezzoli Museum, Milan; the Kohner-Cassirer carpet in the Museum of Islamic Art, Berlin; the Bardini-Williams carpet in the Philadelphia Museum of Art; the Chelsea carpet in the Victoria & Albert Museum, London; the Martin and Schwaiger fragments, both of the same carpet, in the Textile Museum, Washington DC; the Baron compartment carpet in the Musée Historique des Tissus, Lyon, and its pair, the Robinson compartment carpet in the Metropolitan Museum.59 The Schwarzenberg carpet was first exhibited in Vienna in 1891 and published in the large ‘elephant’ folio edition. Latterly 9 HALI ISSUE 155

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it was loaned to the Österreichisches Museum für angewandte Kunst (MAK) in Vienna. The MIAQ acquired it from the Schwarzenberg family in March 2003. It has been published more than twenty times, but without any light being shed on its place of manufacture. As to its age, we may propose an approximate date based upon comparison with the few 16th century Iranian carpets of known date. But since we have virtually no evidence from the 16th century that locates surviving examples to specific workshops, weavers or dates, gaining a real understanding of the art of Safavid carpets is akin to attempting a vast jigsaw puzzle with only a couple of dozen pieces in the box.

Close examination of the classical Safavid carpets that do survive from the 16th century allows a glimpse of the design repertoire of this golden age. Five specific groups are identifiable, made up of examples that share particular characteristics, all or most of which can be seen in all or most examples. These go far beyond basic design similarities or shared structural features and include, for example, identical hues of colour, specific colour combinations, grades of wool, tiny details in weaving technique, such as edge or end finishes, minor characteristics of pattern, as well as many other features. It is safe to assume that carpets which, when examined in detail, share a preponderance of the requisite features, were made in the same location, workshop, village or town.60 The five identifiable Iranian carpet groups are: northwestern Iran, from the late 15th century onward, attributed to Tabriz;61 southern Iran, from the second half of the 16th century onward, attributed to Kerman;62 eastern Iran (Khorasan), from the second half of the 16th century onward, attributed to Herat;63 central Iran, from the 16th century onward, attributed to Kashan;64 central Iran, from the mid-16th century, attributed to Esfahan.65 Of course, contemporaneous Iranian and Western documents clearly inform us that carpets were made in far more places than

3 The Schwarzenberg ‘Paradise Park’ carpet (right, and details above and on pages 8 and 12), central Iran, circa 1550. Wool pile on a silk and cotton foundation, 2.57 x 5.17m (8'5" x 17'0")

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ing down with pyrotechnic brilliance. The whole scene is framed in a power reciprocal, but this border composition is now more subtly treated, with an overlaid design of pale blue cloudbands that define an opposed reciprocal, a new form of secondary design system.”

Pope concluded: “The Schwarzenberg carpet probably dates from the second quarter of the 16th century, but evidently the shop was still producing at the end of the century, for a piece in the Hermitage [the Stieglitz] is obviously a late repetition of a cartoon from the same school, even by the same hand.” Martin, on the other hand, dates the Steiglitz carpet slightly earlier than the Schwarzenberg, albeit a century earlier than we would today.

“The vine-leaf palmette that takes the place of the bar-pendant reappears, as do the paired peacocks, the sweeping fêng-huangs, the reciprocal border, and the sky full of birds and clouds at the top, which is a rather unusual feature of the Schwarzenberg cartoon.” The wool, weave and colours are so different in the Stieglitz carpet that Pope’s view that they are from the same ‘shop’ is difficult to understand.

May Beattie, writing in 1976, is undoubtedly correct that the Mantes and Mackay carpets may be from northwest Iran. She relates the border of the Bardini-Williams to the Schwarzenberg, the Stieglitz and the Chelsea, but also points out that the Stieglitz and the Schwarzenberg are woven differently. She does not attribute the Schwarzenberg to a specific centre, but rightly infers that it is not from Kerman. In the Philadelphia Museum of Art catalogue of 1988, Charles Grant Ellis tentatively attributes the Bardini-Williams carpet to Kerman. He also considers it to be a ‘Paradise-Park’ carpet, even though it lacks the paired cypress trees seen on all the other examples. He attributes the Hatvany and the Paris-Cracow carpets to eastern Iran,68 possibly Herat, an attribution with which I disagree. He writes that the Mackay and Bode carpets are “thought to be of Tabriz manufacture” – possible, but as yet not proven. Ellis tentatively attributes the Stieglitz to the Kerman area because it has “a vase type of construction”, and points out that the Schwarzenberg “is dissimilar in construction and presumably derives from some undetermined central Persian center, possibly Kashan.”

Considering that Ellis rightly saw the ‘Paradise Park’ carpets as the work of a number of different weaving centres, it is amazing that ten years later, in 1998, Murray Eiland should propose that so many carpets with such very different styles, colour, wool and weave were made in Kerman. I doubt that any of them come from there.69 Perhaps Eiland’s confusion stems from the Schwarzenberg having a strap-work pattern in the medallion, like several of the Kerman ‘Sanguszko’ carpets.70 However, this feature also appears in the Kevorkian medallion carpet,71 as well as others that are clearly neither from the same weaving centre as the Schwarzenberg, nor indeed from Kerman.

In my opinion, no other carpet has as yet been convincingly associated with the same workshop, or even the same city, as the Schwarzenberg. Further examination may change this view, but this could probably only be achieved by side-by-side comparison of all the related carpets. There may be some similarities in wool and colours to the Anhalt, and to the Baron and Robinson compartment carpets, which may all come from central Iran. However, there is nothing sufficiently similar in their weave or style to lead one to assume that they are from the same workshops, or even from the same city. The relationship to the Fossati is even less clear, apart from some details in drawing, and we have always assumed that it comes from northwest Iran.72 The border of the Bardini-Williams has a similar reciprocal two-colour background, as does the Chelsea, but all are so different in weave, colours and wool that no real connection can be made. The Kohner-Cassirer is the least closely related in every way. It would be pleasing to be able to link the Schwarzenberg to the Martin and Schwaiger fragments, but their only real connection is to the Hatvany ‘Paradise Park’ carpet. The Schwarzenberg carpet is simply one of a few unique masterpieces from this period.

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the five centres identified here.66 Over and above the 16th century Safavid carpets that can be assigned to these groups, there are examples that share some features, but not enough for inclusion within any of the groups. Nor do enough of them share sufficient common features conclusively to link them to each other and thus form a new group. Many of the greatest Safavid carpets, those that are evidently the work of the great masters, that utilise the best materials and have the most extensive range of colours, can be counted among these ‘f loating’ examples. We may conclude that these could be unique survivors of workshops from which no other examples are known.

The earliest scholarship on classical Iranian carpets dates back to the end of the 19th century, by which time the number of extant examples was so small compared with what must have been made that the views expressed were mostly guesswork.

Little that has been published on classical Iranian carpets is thoroughly researched or reaches plausible conclusions. Some ‘Paradise Park’ pieces have been included in exhibitions, but it has never been possible to compare every similarity and difference side-by-side, so expert opinions have been based on observations made on carpets thousands of miles apart.

Other authors have merely reiterated the work of their predecessors without comment or reference, or have worked from illustrations only, many in black and white, without physically examining the carpets. While not ignoring them, we should therefore treat the conclusions of earlier writers with caution.

The most prudent authors have simply labelled the Schwarzenberg carpet ‘Iranian’. Nor can I disagree with the slightly more specific label ‘central Iran’. In the catalogue to the 1891 Vienna exhibition, Friedrich Sarre attributed the Schwarzenberg carpet to Joshegan, but gave no reasons. In the Munich catalogue of 1910 he offered no attributions. In 1926, Sarre and Hermann Trenkwald ascribed it to north Iran, relating it through certain design features to the Bardini-Williams tree carpet in Philadelphia,67 and suggested that it is closest to the Stieglitz carpet in St Petersburg. Martin, writing in 1908, brought together many of the ‘Paradise Park’ carpets. He attributed the Schwarzenberg and others to the Timurid period, a century earlier than is now accepted, and by inference attributed them to Herat, the Timurid capital. Wilhelm von Bode, in 1911, and with Ernst Kühnel in 1922, did not attribute any Iranian carpets to any specific place of origin. However, in 1955, Kühnel began to suggest places of origin within the text, attributing the Schwarzenberg and related carpets to Tabriz.

Pope attributed carpets of many different styles to Tabriz. He linked the Bardini-Williams to the Schwarzenberg on the basis that: “Most interesting are the closely woven web and knotted fringe on both ends, important diagnostic features which rarely survive, and which also indirectly support a northwest Persia attribution, as such webbing and fringe are not found on carpets of either East or Central Persia.” This is an interesting observation, but so few carpets of this period have original end finishes intact, that one cannot arrive at such an opinion based on such a small sample. Pope continues: “The promise implicit in the Paradise park scene that ornaments the field of the [BardiniWilliams] fragment is delightfully carried out with more perfect pictorialism in a carpet, fortunately in almost perfect condition, belonging to Prince Johann zu Schwarzenberg, and the fact that the two pieces are technically almost identical, combined with their artistic similarity, is virtually proof that although later in date this carpet is a product of the same organisation. As in the [Bardini-Williams] piece a medallion system is superimposed upon the garden, but the combination is now more perfectly synthesized, for the Schwarzenberg medallion functions as a great pool in the centre of the park, with variegated ducks f loating on its rippled surface, the bar and bell pendants are no more inappropriate than garden beds, and the escutcheon is almost merged with the field pattern by delicate and graceful elongations. Again paired peacocks confront each other, and out of the sky in the corners great fêng-huangs come sweeping and f lutter-

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The earliest surviving silk pile carpet known comes from Xinjiang in western China and dates from the 7th-10th century.73 Silk carpets were certainly made in China during the Tang dynasty, as a huge red silk carpet made for the Emperor is described by the poet Bai Juyi (772-846).74 The earliest record of a silk carpet made in Iran is from the 6th century, for the Sasanian King Khosrow I, mentioned above. However, no actual Iranian silk carpets survive from before the 16th century, although a small fragment in the Textile Museum, Washington DC, may well be from the Timurid period.75 And while the so-called ‘Chess-garden’ carpet now in the MIAQ has been attributed to Timurid Iran,76 I have always believed that it was made elsewhere.

Possibly the earliest complete Iranian silk rug is the Gulbenkian houri and inscription rug in Lisbon,77 which bears the date 1529. A counterpart, the Pope small silk tomb cover in the Cincinnati Art Museum, may well be a 20th century reproduction in the style of the Gulbenkian rug.78 Safavid silk carpets certainly found their way to the courts of Europe in the 16th century, as can be seen from a number of references in inventories.79 The rare Safavid silk rugs attributed to 16th century Kashan are so fine that they were often thought to be velvet. They have a quality of craftsmanship that is unsurpassed, masterful drawing, exquisite colours and a balance of colour and proportion that suggests they were created by masters of the art. The MIAQ purchased the Rothschild ‘small-silk Kashan’ rug 4 at auction in London in 1999.80 Like the Tabriz medallion carpet 1, the Kashan was seized from the Rothschilds after the Anschluss in 1938 and stored at the MAK in Vienna.

Rudolph M. Riefstahl first identified the ‘Kashan’ silk rugs in 1916,81 although there does not appear to be any direct evidence to attribute them to that city. In 1961, Kurt Erdmann discussed the fourteen examples that he knew, grouping them by design.82 In 1987, Eberhart Herrmann wrote about the ‘small silk Kashans’ in relation to the newly-published Bacri rug.83 In 1994, curator Daniel Walker exhibited four silk Kashan rugs at the Metropolitan Museum, and perfectly summarised the existing literature and added his own observations in a HALI article.84 The ‘Kashan’ group now contains four complete large carpets and the borders from a fifth: two hunting carpets (MAK, Vienna, and Museum of Fine Arts, Boston); two medallion carpets (Swedish Royal Collection, Stockholm, and one formerly belonging to the Polish state in Warsaw but lost during World War II); and the joined pair of Rothschild border fragments in the Museum für Kunst und Gewerbe in Hamburg, which might have come from a carpet identical to the lost Warsaw piece.85 To these can be added sixteen complete small silk Kashan rugs and fragments of a seventeenth.86 Following Erdmann, they have been divided according to their composition.87 The crenellated ogival medallion surrounded by a cloud-like band seen in the centre of the Rothschild rug is unique among the small silk Kashans. The form of the medallion is similar, but not identical to, that seen on some of the so-called ‘Kashan’ silk kilims. The small blue-ground medallion in the centre, with four outward-pointing palmettes surrounded by cusped arabesques, is somewhat reminiscent of small Ushak rugs from western Anatolia. The Morgan-Widener rug in the National Gallery, Washington DC, is the only example that shares a similar field pattern, with an arrangement of cloudband-filled cartouches placed around the medallion, as well as above and below the pendants of both the central medallion and the quartered medallions on the side axes, but it has an eight-lobed central medallion.

Both Walker and Robinson suggest that the pattern of the primary border of the Rothschild rug is unique, and that the outer minor border is very similar to the inner minor borders on the large silk Kashan carpets in Stockholm and Boston. In fact, the main border is not entirely unique, as it resembles the strap-work seen on a group of 16th century hunting carpets from central Iran with wool pile and silk foundations.88 An all-silk border 13 HALI ISSUE 155

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4 THE ROTHSCHILD KASHAN MEDALLION AND CARTOUCHES SILK RUG

fragment in a private collection has a design identical to the strapwork borders of the latter;89 and a complete silk-pile medallion rug with animals and the same border is in a private collection in Lecco.90 These and other rugs strongly suggest that silk carpets were made in a number of different cities in 16th century Iran. A medallion rug with cartouche borders in Tehran, said to have silk-pile, relates closely to the wool-pile ‘Salting’ rugs and was almost certainly made in the same workshops.91 The Stieglitz silk rug with medallions and cartouches in St Petersburg,92 is related in design to wool carpets at the Shrine at al-Najaf in Iraq. A curious and beautiful small 17th century silk rug with a shrub design in the Metropolitan Museum of Art,93 has the narrow border stripe typical of Tabriz carpets. Another small group comprises the all-silk Lichtenstein, Czartoryski and Rainey Rogers rugs, discussed below,94 which seem to be precursors of the cottonwarped ‘Polonaise’ rugs. Two silk pile carpets have strap-work designs in the field: the Shah Abbas I carpet at al-Najaf, and the Aberconway fragment in the Victoria & Albert Museum,95 which also holds an Esfahan Armenian silk carpet woven in the shape of a Christian ecclesiastical vestment with a crucifixion scene.96 A later silk rug with tree designs is in the Residenz Museum, Munich.97 From other workshops come the silk tree carpets from the Mausoleum of Shah Abbas II at Qum,98 and the silk tree carpet in the Musée Historique des Tissus in Lyon.99

4 The Rothschild Kashan medallion and cartouches rug (right, and detail above), central Iran, mid-16th century. Silk pile on a silk foundation, 1.80 x 2.35m (5'11" x 7'9"). MIAQ, no.CA21.

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This beautiful carpet is one of the best-known of those made in the workshops of Tabriz in the early part of the 17th century 5.100 It has perfect balance of drawing and harmony of colours and is in pristine state, one of the best-preserved Safavid hunting carpets extant. The designs we see are typical of the repertoire of the workshops of Tabriz and Esfahan, and can be related to several other historical Iranian carpets in collections around the world.

The overall design is vertically and horizontally symmetrical, mirrored through the centre on both axes. The field is filled with a network of stems and palmettes interspersed with cloudbands, single animals and other animals in combat. It is overlaid in the centre with a large elongated lobed medallion with crenellated outlines, from each end of which extend spade-like pendants.

The form of the medallion and pendants is reminiscent of the Marquand Kashan carpet in Philadelphia,101 while the simplicity of the design is more closely related to that of the Schutz Esfahan medallion hunting rug in Lyon,102 or the Widener Esfahan carpet in Washington DC, also with a green-ground medallion.103 The decoration within the medallion of the Widener carpet is not unlike that of the secondary quartered corner medallions on the Shah Suleiman. The Schutz, on the other hand, has a small octafoil enclosing four ducks in the centre of the medallion, a design often seen on classical Esfahan carpets and also on the Shah Suleiman Tabriz carpet.104 The intertwined trees with birds that surround the octafoil with ducks are found on a number of other Safavid carpets, particularly on those attributed to Esfahan, but are more commonly used in the main field, and it is very unusual to find them in the medallion.

The large quarter-medallions in the corners of the field appear as part of an endless repeat design that passes out of sight beneath the borders, so we see just a small part of an infinite composition.

Not all Safavid medallion carpets have these motifs, which when present either take the same shape as the central medallion, as here, or are an entirely different form. Often they are filled with a different design to the central medallion. Here, palmettes, cloudbands and spiral arabesques are placed against an orangepink background.

The monumental design of the Shah Suleiman carpet is best compared with the famous Seley medallion, cartouche and pendants carpet in the Metropolitan Museum of Art,105 which has a similar large medallion with cartouche and pendants at each end, as well as large secondary part-medallions in the corners. The spiral arabesque field with palmettes and cloudbands lacks birds or animals, but they are included in the spades and octafoils of the spade, cartouche and octafoil border.

The border of the Shah Suleiman carpet is composed of three motifs: the spade, the octafoil and the cartouche, a combination first seen on Safavid carpets as a field design. In the first half of the 16th century, the spade and octafoil can be seen in the field around a central medallion in carpets attributed to Tabriz.106 By the middle of the century, the design had reached a height of perfection, as seen in a pair of carpets attributed to central Iran,107 as well as three silk tapestry-woven carpets from Kashan.108 The only surviving Esfahan carpet known with a spade and quatrefoil field design is the famous Clam-Gallas carpet in Vienna, attributed to the 17th century, whose field is enclosed by a cartouche and octafoil border.109 The use of the spade, octafoil and cartouche main border may have commenced around the middle of the 16th century. The earliest surviving example, represented by a number of fragments in various collections, is probably from Kashan.110 By the end of the 16th century, the design must have been in common use in the better workshops of Esfahan. It is most often found in combination with a field of f loral arabesques with palmettes and cloudbands,111 rarely with a central medallion. Many smaller rugs with this field and border are woven on a silk foundation. Other field patterns are also used in conjunction with this border: the 15 HALI ISSUE 155

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5 THE SHAH SULEIMAN TABRIZ HUNTING CARPET WITH MEDALLION

Rockefeller Esfahan rug in the Carpet Museum, Tehran has a field filled with animals,112 and another Esfahan in the Metropolitan Museum, has a field with many small trees.113 Many 17th century carpets survive that we attribute to central Persia in general and Esfahan in particular. A number of other carpets survive that have many of the design elements that we associate with Esfahan carpets, but their colours, wool and weave are quite different. The colours and weave of the Shah Suleiman carpet are more like the large medallion carpets of Tabriz discussed above. It is possible that designers or designs came from central to northwest Iran and carpets were made there with ‘Esfahan’ designs.

The Shah Suleiman carpet was with the Morosini family in Venice from the late 17th until the late 19th century. General Francesco Morosini (1618-1694) was one of the great sea-captains of the 17th century, who captured Athens from the Turks in 1687.

The following year, when he was elected Doge of Venice, the Safavid Shah Suleiman (1667-94) presented him with this important carpet. The Safavids, who had a tradition of presenting carpets as Imperial gifts, had long sought the Venetians as allies against the Ottomans. Earlier, in 1603, Shah Abbas I sent a certain Fathi Bey to Venice with silk carpets worked in gold and silver. One of these, together with four other silk carpets which were part of a gift from the Persian Embassy in 1622, is still preserved in the Treasury of St Mark’s Cathedral in Venice. The Shah Suleiman carpet remained in the family and hung in their palace in Venice until it was sold at the Morosini sale in Venice in 1894, when it was acquired for a private collection in Rome.

The merit and importance of the Shah Suleiman carpet in Iranian art history – due to its superb drawing, fresh colours and excellent condition – cannot be overstated. It is a masterpiece of carpet art.

5 The Shah Suleiman Tabriz hunting carpet with medallion (right, and detail above), Tabriz, northwest Iran, early 17th century. Wool pile on a cotton foundation, 2.60 x 5.84m (8'6" x 19'2").

MIAQ, no.CA16

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This elegant rug is one of a distinctive group of 17th century Iranian silk rugs with rows of individual stylised palmettes on a plain ground, made on the imperial looms established by Shah Abbas in Esfahan after he moved his capital there in 1898 6.114 According to Anthony Welch, “Shah ‘Abbas (1587-1629), who was a man of great genius and a person of great understanding, considering that Persia was a barren country, where there was little trade, and by consequence little money, resolved to send his subjects into Europe with raw silks, so to understand whence the best profit would arise, to bring money into his country. To which purpose, he resolved to make himself master of all the silk in his own country by purchasing it himself, and to reap the gains by his factors; and withall, thought it necessary to seek an alliance with the great kings of Europe, to engage them on his side against the Turks.”115 Accounts written by 17th and 18th century travellers speak of the magnificent silk weaving of Esfahan and Kashan; and the socalled ‘Polonaise’ rugs – of which about a hundred survive – are perhaps the best-documented group of Safavid weaving.116 Shah Abbas and his successor Shah Safi both exported silk rugs, often embellished with gold and silver, with their embassies, and these weavings were also much sought after by the nobility of Europe, Poland in particular, who sent merchants to Iran to purchase them on their behalf. Several carpets in European collections today can be traced back to diplomatic gifts in the 17th century. The misnomer ‘Polonaise’ only came to be applied from the late 19th century onwards, when a silk carpet of this type from the collection of the Polish Prince Czartoryski was shown at the Paris International Exhibition of 1878. The carpet, now in the Metropolitan Museum of Art, New York,117 bore what was erroneously believed to be the coat-of-arms of the Czartoryski family, and it was assumed that it was woven in Poland. Even when the proper place of manufacture was established, the ‘Polonaise’ label stuck.

The field design on the present example, one of the most beautiful of the many designs seen on Esfahan ‘Polonaise’ rugs, is composed of vertical rows of arabesques, alternating in diagonal rows with palmettes that mirror each other and invert in each row. The ornaments are worked with some parts in knotted silk pile as well as large areas where the warps are not knotted but worked with metal thread in a ‘sumakh-like’ brocade technique. In each ornament either gold or silver predominates: those parts worked in gold in one ornament are worked in silver in the opposing ornament, thus creating the variation; the ornaments are connected by a fine lattice of pink stems.

Authors have likened the palmettes to Chinese bats,118 but they are clearly part of the repertoire of ornament used in Safavid art. The field is enclosed by a reciprocal trefoil border alternating in orange-red and silver brocading. Small yellow dots are placed in the red trefoils. The alternation of plainness and colour from row to row represents the very essence of classical Iranian design. The space formed by the background is in perfect balance with the pattern; positive and negative ornaments oppose each other, and these then repeat to form what appears to be an endless design stretching to infinity.

Eight of these palmette and arabesque ‘Polonaise’ rugs are known. They may originally have formed two sets of identical pairs and four singles (which could also possibly have been pairs). The most famous are an identical pair in Skokloster Castle, Sweden, woven on a green ground with a salmon coloured border, both in outstanding condition.119 The only other complete example on a green ground with a salmon border is the Rothschild rug presented here. All the other known examples are small fragments or have been assembled from fragments. One composed of many parts, in the Musée Historique des Tissus in Lyon, with a salmon field and green border, may well have been made up from the largest surviving sections of an identical pair of rugs. Another example, a small 17 HALI ISSUE 155

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6 THE ROTHSCHILD PALMETTE AND ARABESQUE ‘POLONAISE’ RUG

fragment in the MAK, Vienna, is so similar to one in the Rijksmuseum in Amsterdam – also acquired from Vienna – that it is probable these two were from the same piece or pair of pieces.

I have not examined two further fragments that survive in Hungary and Poland.

Most of the literature ascribes all ‘Polonaise’ rugs to the reign of Shah Abbas I in the first quarter of the 17th century, after he moved his capital to Esfahan and rugs from the city’s workshops gained international appeal, and considers them to be relatively less fine copies of earlier masterpieces from Kashan. However, close examination of the techniques suggests that certain ‘Polonaise’ rugs may well have been made in the 16th century.

Most ‘Polonaise’ rugs are knotted with silk pile on cotton warps and either cotton or silk wefts, although some – perhaps the earliest – have silk warps. A small number are fully-knotted, but most, like the Rothschild rug, have areas where the warps are not knotted but are worked in a sumakh-like brocading technique. The thread used for the brocading is a metal thread created using f lattened strips of gold, silver-gilt or silver diagonally wrapped around either a yellow or a white silk core. Similar metal thread can be found on a variety of woven lampas silks and a number of wool pile rugs, including the Sarre Ardabil animal carpet 2 and the 16th century Enzenberg carpet mentioned above,120 as well as a silk Kashan fragment,121 but the wrapping method used on these – a simpler warpwrapping in the manner of a tapestry – is quite different.

The metal thread is also used differently: on the Kashan fragment it is generally restricted to quite small areas and is occasionally used for small f lowers or palmettes, and in the case of the Enzenberg it is patterned; on the ‘Polonaise’ rugs it is more extensive, often covering the background to both field and border.

6 The Rothschild palmette and arabesque ‘Polonaise’ rug (right, and detail above). Esfahan, central Iran, circa 1600. Silk pile on a cotton and silk foundation with silver brocading, 1.43 x 2.15m (4'8" x 7'1").

MIAQ, no.CA03,

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The latter effect can be seen on the rugs depicted in the 1564 portraits of King João III of Portugal (with John the Baptist) and his Austrian wife Queen Catarina (with St Catherine).122 While no silk carpets are mentioned in the Queen’s ‘list’ of 1528, in 1557 an inventory records “four small gold and silk carpets, eight gold and silk and wool carpets and seventy wool carpets”.123 The rug depicted in both paintings looks like the type usually assigned to the ‘Polonaise’ group. Elements of the design resemble three early rugs of the ‘Polonaise’ type that form a transitional group: the Rainey Rogers rug has a silk foundation and no metal thread, while the Lichtenstein and Czartoryski rugs have their entire backgrounds warp-wrapped in metal thread, in a more complicated version of the tapestry technique used on the Ardabil animal 2 and Enzenberg rugs.124 Such luxury carpets must have also arrived at the court of Cosimo I and Eleonora di Toledo in Florence at around the same time. Marco Spallanzani records two Iranian carpets in the Medici archives: one purchased in 1549, of gold and silk and wool, made in “Azzermia”, with what may be the Medici coat-of-arms; the other, from 1553, made in silk and gold with various animals, is described as “Turkish” but from the description given is far more likely to be Iranian.125 A number of documented silk and metal rugs survive from the early 17th century. One was given by Shah Abbas I to the Shrine of Imam Ali at al-Najaf in Iraq, along with five other carpets and one kilim. A silk and metal rug was a gift from the Shah to Venice in 1603,126 and in 1639 a Persian embassy sent by Shah Safi to Duke Frederic of Holstein Gottorp presented, among other objects, the outstanding ‘Polonaise’ carpets now in Rosenborg Castle in Copenhagen.127 The ‘Polonaise’ rug presented here was once in the collection of Alphonse de Rothschild in Vienna, from whence it passed to Baron Nathaniel de Rothschild in Paris, and was later acquired by the Wildenstein family, Paris. It was purchased by The Textile Gallery, London, at Sotheby’s in Monaco in 1979 for the Wher Collection. It was exhibited at the Victoria & Albert Museum for more than ten years, and in 1997 it was bought by the MIAQ.

SAFAVID SILK TAPESTRIES The MIAQ owns two Safavid period Iranian silk tapestries (kilims), the Franchetti hunting design tapestry 7, and the Koelz pictorial tapestry depicting a vignette from the story of Layla and Majnun 8. The tapestry technique is among the oldest forms of weaving, derived from a form of simple balanced tabby weave.

Whether Neolithic tapestries were depicted on wall paintings at Çatal Hüyük in central Anatolia some 9,000 years ago remains in doubt,128 but both warp- and weft-faced tapestry weaving can be traced back to ancient times. A number of wool tapestries have been found in western China dating from circa 800-600 BC. In southern Siberia, figurative ‘toothed’ tapestries can be traced back to at least the 4th century BC – examples in wool, of extraordinary quality, that are very much in the Iranian style, survived in barrow 5 at Pazyryk in the Altai Mountains of Siberia.129 By the 3rd century BC, the technique was in common use in the oasis cities of the Taklamakan in Xinjiang. While the preferred technique for silk weaving in China during the Han period (206 BC-220 AD) was compound tabby, a small number of fragments of silk tapestry survive.130 It is more than likely that silk tapestries were made in Iran during Sasanian times (226-651 AD), as more complex silk weaves such as samite survive. By the time of the Northern Song in China, f lattened gold strips attached to parchment or paper were incorporated into the weave.131 Jon Thompson draws our attention to several examples from 12th century Iran as well as the outstanding 13th century Mongol Ilkhanid tapestry roundel in the David Collection, Copenhagen.132 Safavid Iran in the 16th century was famous not only for sumptuous silk pile carpets, but also for silk velvet, silk brocade and silk tapestry incorporating gold and silver thread. Our records include 48 Safavid tapestries, most of which are in museum col19 HALI ISSUE 155

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PERSIAN CLASSICAL CARPETS

lections. They have a variety of field designs: animals in cartouches (4); a medallion containing birds or angels (3); a medallion containing dragons (4); f loral medallions (14); coats-of-arms (3); cartouche or pendant fields (3); f loral fields (4); pictorial and naturalistic patterns (5); ‘Ottoman’ type (4);133 plus a further seven of unknown design cited by various authors.134 The significance of tapestry making in Safavid art should not be overlooked. Safavid tapestries are of extraordinary quality, colour and design, although possibly not quite as fine in weave as Chinese tapestries (kesi), perhaps as a result of the manner in which the gold thread was incorporated into the weave in Iran.

A Kashan tapestry-woven rug was first published as early as 1866, but attention was only focused on the group at the Masterpieces of Islamic Art exhibition in Munich in 1910, where several were shown. Five of these are in the Residenz Museum, Munich, including three with the arms of King Sigismund III Vasa of Poland; this and other examples with royal insignia have played a very important part in determining the date and origin of the group, as they can be dated back to the silk kilims ordered by Sefer Muratowicz in Kashan in 1601.135

7. THE FRANCHETTI HUNTING DESIGN KASHAN SILK TAPESTRY This extremely beautiful silk tapestry-woven rug is one of four highly important examples known with this composition 7. It was first published in 1938 by Gertrude Robinson in the journal Pantheon, where we are tantalisingly told it was “the property of a family, which had had trading relations with the East since the Middle Ages”. It reappeared 38 years later, when it was sold by Baron Giorgio Franchetti from Rome at auction in London.136 The best-known tapestry carpet with a composition of animal designs in cartouches, formerly in the Figdor Collection,

7 The Franchetti hunting design tapestry (right, and detail above), central Iran, second half 16th century. Weft-faced tapestry weave in silk and silver wrapped silk on a silk foundation, 1.51 x 2.19m (4'11" x 7'2").

MIAQ, no.CA02,

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8 THE KOELZ LAYLA AND MAJNUN KASHAN SILK TAPESTRY In the scene from Persian romantic literature – the 12th century Khamsa of Nizami – depicted in this superb Safavid figurative tapestry 8,142 Layla sits beneath a canopy, contemplating her emaciated and bedraggled lover, Majnun, who has just returned from banishment in the desert. Beside her stands a court attendant. Scattered below are various plants and objects. An inscription behind Layla reads: “Long Live the Government”.

As mentioned, a number of Safavid tapestries depict angels, birds and animals, either within medallions or simply within the field. Five are known that are more pictorial or naturalistic, their patterns quite possibly derived from paintings or tile designs.143 The most spectacular of these – certainly the oldest and additionally embellished with metal thread – is the Czartoryski, with a tile-like field of eight-lobed medallions, each with an impressive houri and cartouches containing different animals. The Moore tapestry in the Yale University Art Gallery, New Haven, depicts horsemen hunting wild beasts with dogs, archers and falcons. Pope, in the Survey, illustrates these two as ‘Textiles’, far removed from eleven other Safavid tapestries, which are included among the ‘Carpets’.

In many ways the Moore tapestry is most like the Koelz Layla and Majnun, as it depicts a naturalistic scene probably taken dir21 HALI ISSUE 155

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then for many years in the Thyssen-Bornemisza Collection, is now in the Miho Museum near Kyoto, Japan.137 In design it is the closest complete example to the Franchetti. The only other Safavid silk tapestry known with a design of animals in cartouches is a National Treasure of Japan in the Kodai-ji, Kyoto.138 It was used as the cloth for a jimbaori, or campaign surcoat, for the military regent of the Momoyama period, Toyotomi Hideyoshi, who died in 1598, thus establishing that these tapestries were woven, at the latest, in the last quarter of the 16th century. A fourth example, reportedly without animals, was in the Shrine at Ardabil.139 Bode considered the Figdor tapestry to be the earliest and most beautiful of the group, but the Franchetti, unknown to him, surpasses it in design. While similar harmonious colours are used in both, the layout in the Franchetti creates a more balanced effect. Offset twelve-lobed medallions each contain a single peacock, pelican, swan or deer, with the legendary simurgh shown in the four central compartments. Animals, including lions, tigers and stags, surround the medallions, and the design is reversed along the horizontal and vertical axes.

In the Figdor, the rows of six-lobed medallions contain direct repeats of animals in combat, single birds and lions’ heads, again surrounded by other beasts. The design is reversed along the vertical axis, and on the horizontal axis alternate medallions in each row are reversed; the animals are orientated in the same direction throughout the rug. Both have an ivory field, the Franchetti with navy medallions, the Figdor with blue. A blue main border has a strap design, but the Franchetti also includes compartments bearing a single lion’s head. The surcoat in Japan shows a similar field design, with a border of quatrefoils joining cartouches containing pairs of animals.

May Beattie has pointed out that the field composition with various cartouches was also used in contemporaneous wool pile weavings such as two of the ‘Sanguszko’ carpets, one with the Duke of Buccleuch at Boughton House, the other in the Musée Historique des Tissus, Lyon.140 The source of these carpets has been much discussed, with the majority favouring either Kerman, or more likely Yazd.141 Many of the surviving Safavid tapestries may have been made in Kashan, but close examination suggests that they were also made in other centres. A detailed study of their designs, structural characteristics and colours remains to be undertaken in order to group related examples, although I doubt that the corpus of extant examples is large enough to carry out a meaningful analysis.

ectly from a painting. In neither example is the drawing particularly successful, especially compared to European tapestries of the same period, whose makers had long experience in achieving naturalism. Two other Safavid tapestries, the Los Angeles-Khalili and Paris examples, seem to be far more inf luenced by pictorial ceramic tile designs, as seen on the sides of buildings. The Los Angeles-Khalili tapestry is quite different in colours and weave, with a depressed foundation, to all the other examples I have examined.

Not much is known about the history of this tapestry. It was formerly in the collection of Dr Walter Norman Koelz of Waterloo, Michigan (1895-1989), a world expert on birds interested in conservation in developing countries, who was also a collector of oriental art who collected widely throughout Asia, particularly Iran.144 The tapestry, which he may well have acquired in Iran, was apparently not published until after his death. It was sold at auction at Christie’s, New York, in 1990, for the benefit of The Nature Conservancy, and was later acquired by the MIAQ.

8 The Koelz Legend of Layla and Majnun tapestry (right, and detail above), central Iran, late 16th or early 17th century.

Silk tapestry weave, 1.29 x 1.79m (4'3" x 5'10").

MIAQ, no.CA01

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PERSIAN CLASSICAL CARPETS 9. THE ROTHSCHILD ESFAHAN ‘IN-AND-OUT’ PALMETTES CARPET This large carpet is typical of the group of finely knotted silk warped Esfahan carpets made during the 16th and 17th centuries 9.

Some have animals, some birds, others, like this, have only f loral decoration composed of large and small palmettes, spiral tendrils and cloudbands set against a deep red background. In the primary border are large inward- and outward-facing palmettes as well as many small f lowerheads and stems set on a dark blue ground, highlighted by the use of white cotton in many of the palmettes.

The pattern of the inner minor border is composed of a meandering stem with f lowers set on a green background; the outer minor border is missing.

So-called ‘Esfahan’ carpets made in the 16th and 17th centuries have been among the most controversial of all in the study of classical carpets. There has never been any doubt about their age, beauty and importance – they have always been held in the highest esteem ¬– but the problem is where they were actually made. Many of the finest carpets of the ‘Esfahan’ type date from the second half of the 16th century, but carpet historians have been reluctant to attribute this important group to the city of Esfahan, perhaps because it was not until 1598 that Shah Abbas the Great moved his court there. However, the attribution to Esfahan is confirmed by the fact that they share many of the same designs as the ‘Polonaise’ rugs – most of which are firmly attributed to Esfahan – and several structural characteristics.

It must have been the case that very fine imperial-quality rugs were made in a city that was not then the Safavid capital.

At the end of the 16th century, Shah Abbas I (r.1587-1628) established artistic workshops in Esfahan, as well as implementing an extraordinarily lavish building programme. He is known to have been interested in the weaving of carpets, and records indicate that he designed them, and was himself a weaver. In 1601, the Shah set up carpet workshops within the palace precincts to produce work not only for the court but also for presentation to distinguished foreign visitors and as diplo¬matic gifts carried by embassies travelling abroad. Designs were prepared by court artists, and this new school of weaving soon gained great fame, both in the East and in the West.

Only a few rugs can be directly linked to Shah Abbas I. Among these are the six carpets and one kilim he gave to the Shrine of Imam Ali at al-Najaf in Iraq.145 Two of the carpets have silk pile, four (three of them fragments) have wool pile, and the kilim fragment is in silk. The Shah’s gift also included a number of woven silks and embroideries. The six pile carpets, the kilim, and many of the silks, are brocaded with gold and silver thread.

Most outstanding of these is a huge strap-work design carpet made in two halves measuring some 9.5 by 14 metres, which is, as far as I am aware, the largest silk carpet in the world; a sizeable fragment from an almost identical carpet, once with Lord Aberconway, is in the Victoria & Albert Museum.146 The huge silk carpet is the only one of the al-Najaf pieces that I would readily associate with Esfahan. The other five have major and minor border patterns akin to those of a different group of carpets from central Iran. A complete saf and a border fragment with a very similar pattern, inscribed “Donated by the dog of this Shrine Abbas”, must have been commissioned by the Shah for the Shrine, although it is not known where or when they were made. It is possible, although unlikely, that they were commissioned before 1587, when Abbas became Shah, but it is likely that they were made before 1623, when he occupied al-Najaf.147 Before defining the types of carpets currently attributed to Esfahan, it should be made clear that there are quantum differences in colours and weave between the wool-pile with all-silk foundation carpets that for the time being I tentatively attribute to Kashan, including the two Ardabil pairs and the ‘Salting’ carpets, and the group (headed by the ‘Emperor’ carpets)148 attributed below to Esfahan (Type 1), although a general ‘central Iran’ label might be safer. There are similarities: the Emperor carpets, 23 HALI ISSUE 155

like the Ardabil animal rugs, have red grounds embellished with metal brocading, and their designs are similar to the Ardabil medallion rugs, although more complex and with a greater wealth of detail. Pope considered the pairs to be very closely related, and described them as being “clearly the work of a single and very gifted designer, one of the greatest that ever turned his attention to carpets”.149 A typical feature of Esfahan carpets is their palette: a deep red ground of lustrous wool with a rich and varied range of other colours, including green, yellow and orange-red, suggesting the presence of master dyers. There is some difference in artistic content between the rugs woven on silk foundations and those on cotton. In general, the former have a more exciting range of motifs and are more impressive in both colour and drawing. It is noticeable, for instance, that the red-ground f loral rugs with silk warps often have animals in their fields and/or birds in their main borders, while those on cotton warps seldom have animals or birds in their design.

All Esfahan carpets are similar in terms of overall design and style of drawing, but can be placed into three groups (with some overlapping), of examples that are closely related to each other in materials and technique. Type 1 has silk pile on an all-silk foundation. Type 2 is woven on silk warps (often dyed yellow) and cotton wefts (often dyed red).150 A number of carpets of Types 1 and 2 share sufficient features to make it difficult to differentiate between them. Some have areas where, instead of pile, the wefts and warps are covered with tapestry-style warpwrapping in yellow or ivory silk diagonally wrapped with silver, sometimes with additional patterning on the wrapping.151 This is mostly executed in the manner seen on several of the ‘Kashan’ wool-pile rugs, although on some examples the wrapping follows the sumakh style brocading of the ‘Polonaise’ rugs. Type 3 Esfahan carpets have wool pile and cotton warps and wefts (like most of the silk-pile ‘Polonaises’).

Many Esfahan silk rugs and some of the wool-pile rugs have supplementary silk braiding, in some cases wrapped in metal thread, attached to each end, which also acts as a fringe. Cotton warps were clearly used for strength, but the hint – even if false ¬– that a carpet was made on a silk foundation, clearly added to the luxury. The earliest known classical Iranian carpet with a

9 The Rothschild Esfahan ‘in and out’ palmette design carpet (right, and detail above), central Iran, first half 17th century. Wool pile on a silk and cotton foundation, 2.17 x 4.83m (7'1" x 15'10").

Photo courtesy Christie’s, London

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PERSIAN CLASSICAL CARPETS silk fringe attached (although in a different manner) is the Pope Pius IX Tabriz carpet in Milan, dated either 1522-3 or 1542-3.152 Added braiding and fringes can also be found on carpets of the ‘Salting’ type attributed to Kashan and on many of the Kashan silk kilims, although this is often different in character to the braiding seen on Esfahans.153 Such apparent minutiae are useful in defining the ‘signature’ features of carpets, and help to group them with kindred examples.

The most important exhibition ever assembled of Esfahan carpets of Types 2 and 3 was held in Lisbon in late 2007.154 It brought together 14 quite closely related examples,155 which detailed direct comparison suggests were quite possibly made in the same centre over about a hundred-year period, with differences of quality explained by the length of time over which they were produced, and manufacture in different workshops.

Stylistic similarities between many of these and most of the ‘Polonaise’ rugs, especially in the main and minor borders, strongly suggests that they were made in the same place, and there is more than enough evidence for the origin of the ‘Polonaise’ silk carpets to make the attribution of these woolpile examples to Esfahan logical and almost definitive.

The earliest designs woven in Esfahan were based on those used in the workshops of Tabriz from the first half of the 16th century, and on the patterns of carpets attributed to Kashan from the mid-16th century. However, by the early 17th century, such ‘Esfahan’ designs might well have found their way back to Tabriz, as has been suggested above in regard to the Shah Suleiman carpet 5.

The oldest documentary record for what I believe to be a Type 2 carpet is in the Museu Nacional de Arte Antigua, Lisbon.

Hallett and Pereira tell us that “Queen Caterina received two such carpets at her palace attached to the Convent of Madre de Deus in Xabregas (Lisbon) in 1571 and it is tempting to speculate that the large ‘tree and animal’ carpet from the Convent, now divided between the Museu Nacional de Arte Antigua, Lisbon and The Textile Museum, Washington DC, may have originally been part of her collection.”156 In the last quarter of the 19th century, the English dealer Vincent Robinson apparently considered the famous Esfahan carpet that bears his name to have been made in Spain.157 By the end of the 19th century, however, the majority of dealers and collectors attributed rugs of this type to Esfahan. However, beginning in 1908 with F.R. Martin, some carpet historians have perversely misattributed Esfahan carpets to Herat in Khorasan (even though carpets known to be from Khorasan have a completely different structure); to India (where wool and dyes are very different); or vaguely labelled them ‘Indo-Esfahan’.

Martin’s reasons for switching these carpets from central to eastern Iran are unconvincing and some of the points he makes in furtherance of his argument, such as the date of the Jaipur carpets, are manifestly wrong. He writes of Shah Abbas establishing carpet factories in Herat in the mid-16th century, and of these red-ground carpets having been made there at this time, But Abbas did not ascend the throne until 1587, and it is likely that the earliest examples pre-date this. It seems that Martin, faced with the problem of attribution, and aware that Herat was supposed to have been a leading centre of Persian carpet manufacture in the 16th century, simply attributed everything to Herat.

Interestingly, Martin did note the continuance of weaving in 19th century Khorasan. It is the existence of documented Khorasan carpets of the late 18th and 19th centuries and their structural similarities to certain 17th century Persian carpets, particularly in their common and extensive use of the so-called jufti knot, that allows us to attribute a substantial group of the latter to Khorasan. And it is the technical and stylistic similarities of the Esfahan wool group to the silk ‘Polonaise’ rugs that sets them firmly apart from the contemporaneous carpets of Khorasan 10.

Persian carpets were being imported into Italy, Spain, Portugal, the Netherlands and England during the 16th century. Many 25 HALI ISSUE 155

reached Europe by sea through the southern port of Hormuz, where they were purchased by the English and Dutch East India Companies. Others came overland through Istanbul. It is perhaps surprising, therefore, that so few are depicted in European paintings. After the ‘Polonaise-like’ rug seen in the pair of paintings from 1564 of the King and Queen of Portugal,158 the next recorded image of an Iranian carpet is not apparently until 1598, and depicts a typical Esfahan carpet.159 By the beginning of the 17th century, and for the next hundred years, many Esfahan types are depicted in Dutch, Flemish, Spanish, English and Portuguese paintings. Some types that are quite coarsely woven appear as early as the very beginning of the 17th century, including one depicted by Rubens.160 The MIAQ’s palmette and arabesque Esfahan carpet had been in the collection of Edmond de Rothschild before it was sold in the early 1980s through Colnaghi, London, to The Textile Gallery and on to Cittone in Milan. It then went into the collection of Roberto Calvi and was later sold at auction by his heirs.161

Clockwise from top left 10 King Edward VII’s Coronation Carpet with palmette design (right and detail above), Khorasan, northeast Iran, circa 1700. Wool pile on a cotton foundation, 2.99 x 6.70m (9'10" x 22'0") 11 Section of a Kerman shrub carpet, central Iran, second quarter 17th century.

1.20 x 1.83m (3'11" x 6'0").

12 Section of a

10-13 OTHER SAFAVID CARPETS IN THE MIAQ

Kerman palmette

In addition to the Iranian carpets and silk tapestries discussed at length above, the MIAQ currently owns a number of other Safavid rugs and fragments, including examples, not necessarily all of ‘masterpiece’ quality, from Khorasan (Herat) and Kerman. These are mentioned here in passing for the sale of completeness.

A large Khorasan carpet of circa 1700 10, reputedly used at the Coronation of King Edward VII in Westminster Abbey in August 1902, has a field pattern of inward- and outward-facing palmettes set against a red ground, enclosed by a primary border on a blue ground made up of alternating diagonal and inwardfacing palmettes in shield-like lozenges with pairs of splitleaves, joined to a meandering stem. The palmettes in the field are typical of Khorasan carpets, and the serrated palmettes can be seen in 18th and 19th century Harshang design carpets from the Caucasus. Reportedly once from a Spanish cathedral, it was purchased by the museum at auction in London in 1997.162 The MIAQ also owns three rather worn fragments of typical Kerman ‘vase-technique’ carpets from the second quarter of the 17th century, all acquired at auction in London. Two are quite substantial sections, one with a repeat design of horizontal rows of different f lowering shrubs on a red ground 11,163 the other with a palmette and sickle-leaf pattern on a blue background 12.164 Finally, there is a tiny fragment from a very large Kerman carpet that had a three-plane ‘vase’ design set on a diagonal, large serrated-leaf lattice 13.165

and sickle-leaf carpet,

ACKNOWLEDGEMENTS I am indebted to Rupert Waterhouse and Daniel Shaffer for their extensive editing of my text and for their many contributions and additions. Thanks also to everyone who allowed me to study their rugs or provided advice and information, including: Alessandro Bruschettini, Susan Day, Hussain Rajab Al-Ismail, Anatol Ivanov, Thomas Farnham, Jack Franses, Jens Kröger, John Mills, Mary Jo Otsea, Elisabeth Parker, William Robinson, Daniel Shaffer, Sheikh Saud al-Thani, Elena and Nikita Tsareva, and Oliver Watson. Recognition should be given to Nicholas Waterhouse for untold hours devoted to curating the MIAQ collection while it was in London, and for managing the conservation and preparation of the carpets for exhibition at Longevity Conservation Studio in London, which was undertaken by Jill Beeney, Carole Bellon, Kate Judges, Alex Thompson and Rosalind Tuckwell, as well as by Mona Al Saie from the MIAQ. Photography was done by Nicholas Waterhouse and Carole Bellon. Carbon-14 analyses were carried out by Georges Bonani and Irka Hajas of the Institute of Particle Physics (ETH) in Zurich.

This article is an extended version, with full citations and references as well as additional images, of the abridgement published in HALI 155, Spring 2008, pp.72-89. For notes and further plates see below.

central Iran, second quarter 17th century.

Wool pile on a cotton foundation, 1.80 x 2.34m (5'11" x 7'8") 13 Section of a Kerman vase and compartment lattice carpet, central Iran, second quarter 17th century. Wool pile on a cotton foundation, 0.59 x 0.51m (1'11" x 1'8")

Photo by: Longevity

Photo by: Longevity

Photo by: Longevity

Photo by: Longevity

PERSIAN CLASSICAL CARPETS

10 11

12

13

HALI ISSUE 155 26

PERSIAN CLASSICAL CARPETS NOTES For reasons of space, the exhib-

press about Sheikh Saud overpay-

suppress it when the carpets are

Denny (Ten Great Carpets’, HALI

ition and publication citations

ing for works of art. In my experi-

not being viewed.

1/2, 1978, pp.156-64) and Susan

below, while extensive, are by

ence, however, he was cautious

10 The Mongol Ilkhanids ruled Iran

Day (Sakıp Sabancı Museum, Isfa-

no means complete.

on price and was keen neither to

from 1256, gaining complete power

han, Delhi, 3 Capitals of Islamic

1 In March 2005, Sheikh Saud

overpay nor to gain that reputation,

following the sack of Baghdad by

Art, Masterpieces from the Louvre

stepped down as chairman of the

as he believed that paying a ‘fair’

Hulagu Khan in 1258. The empire

Collection, Istanbul 2008, pp.195-6)

NCCAH as a result of a misunder-

price would stand him in good

ended around 1335 with the death

have proposed that another group

standing over acquisitions with the

stead for further acquisitions. Some

of Abu Said. Descendants of the

of northwest Iranian (or ‘Azerbai-

Government of that has since been

very important carpets were not

family were governors of different

jan’) rugs can be assigned to the

resolved. A number of works that

acquired because the price seemed

regions, but none were able to

late 15th or early 16th century:

were in his private collection will

too high.

gain complete control.

I disagree and attribute them to

now go into the Qatar museums.

6 There are exceptions: the Metro-

11 Amy Briggs, ‘Timurid Carpets, I,

mid-16th century Tabriz:

His personal interest is mainly in

politan Museum of Art’s purchase

Geometric Carpets’, Ars Islamica,

(1) The Bardini Tabriz cloudband

ancient Egyptian art, and as the

of the Kevorkian Jaipur Mughal

VII/1, 1940. pp.20-54; ‘Timurid

and medallion carpet. 245 x 510cm.

Qatar government has no plans

shrub carpet in 1972, and the

Carpets, II, Arabesque and Flower

Bardini Museum, Florence, no.730

for a museum of ancient art

Cagan early animal rug in 1990;

Carpets’, Ars Islamica, IX-XII,

/456. HALI, Italian supplement,

(Greek, Roman, Egyptian and

the Museum of Islamic Art in Berlin

1940, pp.146-58 and figs.10-16.

1981; Alberto Boralevi, ‘The Bar-

Mesopotamian), he continues to

bought the French & Co. Mughal

12 Two Timurid carpets:

dini Persian Floral Medallion Car-

collect privately in this field.

animal carpet in 1973; the David

(1) Fragment with interlaced lattice

pet’, HALI 39, 1988, pp.14-15.

2 In addition, more than 160 items

Collection in Copenhagen bought

design. 56 x 35cm. Benaki Mus-

(2) The Boston Tabriz cloudband

of costume were acquired for a

a Seljuk carpet section from Bey-

eum, Athens, no.16147. Thomas

and medallion carpet. 214 x 516cm.

quite separate Costume Museum.

shehir in 1991, and the Schotten-

W. Lentz & Glen D. Lowry (eds.),

Boston Museum of Fine Arts,

3 At present there are no plans for

kirche Mamluk carpet in 1987; and

Timur and the Princely Vision,

no.65.595. Formerly French & Co,

a catalogue. It had been hoped to

the Miho Museum bought the

Washington 1989, pp.220, 353,

New York. An Exhibition of Antique

publish a general book on the car-

Sangusko Kerman carpet in 1994.

no.119; Louise W. Mackie, ‘A Piece

Oriental Rugs, Chicago 1947, no.24;

pet and textile collection, as well

7 From the likes of Altman, Ford,

of the Puzzle. A 14th-15th Century

Denny 1978, fig.2; Walter B. Denny,

as a ‘very large format elephant

Getty, Rockefeller, Ballard, Myers,

Persian Carpet Fragment Revealed’,

‘Türkmen Carpets and Early Rug

folio’ limited edition, printed to the

McMullan and McCoy Jones.

HALI 47, 1989, p.16, fig.1; Susan

Weaving in the Western Islamic

highest standards using up to nine

8 Often little or no space is avail-

Day (ed.), Great Carpets of the

World’, HALI 4/4, 1982, p.332,

colours (a test on a smaller scale,

able for the permanent or semi-

World, New York 1996, p.115, pl.89.

fig.8 (detail); King & Sylvester,

but to the same standards, was

permanent display of carpets, or

(2) Silk carpet with animals and

p.85, no.57. Exhibited: Boston,

carried out for the Silk and Ivory

the funds and enthusiasm are not

inscribed border. 35 x 70cm.

Museum of Fine Arts, 1977.

catalogues for the 2004 Doha Cul-

available to create environment-

Textile Museum, Washington DC;

(3) The Fenaille Tabriz cloudband

tural Festival, thought at the time

ally-controlled showcases such as

Ralph Pinder-Wilson, Islamic Art:

and medallion carpet. 250 x 610cm.

to be the best printed illustrations

that designed for the Ardabil med-

One Hundred Plates in Colour

Musée des Art Décoratifs, Paris,

of carpets and textiles to date).

allion carpet at the V&A.

with an Introductory Essay on

no.11626. Roland Gilles et al., Hea-

During 2004-2005, several well-

9 The fabric of the new museum

Islamic Art, London 1957, pl.78.

ven in a Carpet, Paris & Lisbon

known scholars visited Qatar and

building, designed by the Chinese-

13 Two Tabriz carpets, possibly late

2004, pp.154-5, no.35 (with struc-

each agreed to contribute an essay

American architect I.M. Pei, is mag-

15th century:

ture analysis); Sabancı 2008, no.77.

specific to their area of expertise.

nificent, jutting out onto an artifi-

(1) The V&A Tabriz spirals and med-

14 Two carpets from central Iran,

Unfortunately, this publication pro-

cial island from Doha’s sea-front

allion carpet. Victoria & Albert Mus-

15th or early 16th century:

ject was abandoned.

Corniche. It is hoped that attention

eum, London. (a) 396 x 604cm,

(1) The Baron compartment with

4 At first I did not take Sheik Saud’s

to detail, lighting and presentation

missing both ends. Arthur Upham

dragon and phoenix carpet. 400 x

plans too seriously. In the Middle

will measure up to the huge efforts

Pope (ed.), A Survey of Persian

800cm, wool pile on a silk founda-

East, people have usually acquired

made to assemble these works of

Art, London & New York 1938-39,

tion. Musée Historique des Tissus,

new carpets as functional objects

art. I wait with great interest to

pl.1112; Joseph V. McMullan,

Lyon, no.25.423. Formerly S. Baron,

for the floor, and a ‘used’ rug, how-

see whether the interior designer

Islamic Carpets, New York 1965,

Paris, 1893. F.R. Martin, A History

ever historic, might be regarded as

Jean-Michel Willmotte has the

pp.54-5, pl.10a (reconstruction). (b)

of Oriental Carpets before 1800,

just a second-hand floor- or table-

experience and conservation know-

231 x 155cm, corner of field with

Vienna 1908, p.39, fig.96 (detail);

cover, mattress or seating mat.

ledge necessary to display the car-

border. Formerly McMullan

Kurt Erdmann, Orientalische Tep-

Appreciation of this medium in the

pets properly. Open display, esp-

Collection. Ibid., pp.52-3, pl.10.

piche aus Vier Jahrhunderten, Ham-

West stems from a long tradition

ecially when the carpets are laid

(2) The Delaunay Tabriz spiral, split-

burg, 1950, p.31, no.100; Kurt Erd-

of art historical research and there

flat on daises, will look wonderful

leaf and medallion carpet. 240 x

mann, Seven Hundred Years of

are hundreds of collectors, but over

for a few years, but has many prob-

370cm, central section of field.

Oriental Carpets, London 1970,

the past forty years I have met

lems, and conservators are rightly

Musée des Gobelins, Paris, no.1375,

p.182, pl. XIX (detail); Ian Bennett,

hardly anyone from the Arab world

concerned about dust, fading, moth

acquired 1892. Formerly Elie Dela-

‘Splendours in the City of Silk,

with any real interest in or know-

and carpet beetles. A further dil-

unay. Exhibition Catalogue of Pers-

part 3: The Safavid Masterpieces’,

ledge of the history of carpet des-

emma is light. Established practice

ian Art, London 1931, no.150; Pope

HALI 34, 1987, pp.42-3, pl.XI, and

ign, or any sensitivity to the great

of putting carpets and textiles in

1938-39, pl.1115; Kurt Erdmann,

p.103 (with structure analysis).

beauty of antique carpets. There

constant light at no more than 50

Oriental Carpets, New York 1960,

(2) The Robinson compartment

are of course exceptions; among

lux is not good unless items are

fig. 65; Donald King & David Syl-

with cragon and phoenix carpet.

the handful of collectors from the

regularly rotated (which requires a

vester, The Eastern Carpet in the

340 x 498cm, reduced, wool pile

region have been some of the

large collection). Low light levels

Western World, London 1983, p.87,

on a silk foundation. Metropolitan

most inspired connoisseurs in

make it difficult for viewers to app-

no.60; Roland Gilles et al., Tapis,

Museum of Art, New York, acquired

this field, including Khalil Talhouni,

reciate the colours and beauty of

Present de L’Orient a l’Occident,

in 1910, Frederick C. Hewitt Fund

Sheikh Nasser al-Sabah, Jasim

the carpets. It is better, both for

Paris 1989, pp.140-1; Day 1996,

no.10.61.3. Formerly Vincent Rob-

Homaizi, and Hossein Afshar.

object and viewer, to increase illu-

p.123, fig.95.

5 Much has been written in the

mination for a limited period and

27 HALI ISSUE 155

Some authors, including Walter

inson, London; Baron Adolph Thiem, Berlin; Charles T. Yerkes Collection,

PERSIAN CLASSICAL CARPETS New York. Vincent Robinson, East-

(1522-3) or 949 (1542-3). 365 x

teppiche der Mittleren bis Späten

band and medallion carpet. 335 x

ern Carpets, Twelve Early Examples,

570cm. Brera Museum, Milan, on

Safawidenzeit. Die Sog. Polentep-

832cm. Private collection, Geneva.

London 1882, pl.III; John Kimberly

loan to the Poldi Pezzoli Museum,

piche, Berlin 1968.

Formerly Asfar & Sarkis, Damascus;

Mumford, The Yerkes Collection of

Milan, since 1923 no.DT1. Form-

19 From 1997-2005, Longevity

Count Gaetano Marzotto di Vald-

Oriental Carpets, New York 1910,

erly Pope Pius IX, Rome; King

Conservation Studio in London

agno e Castelvecchio. Pope 1938-

pl.XXV; Friedrich Sarre & Hermann

Victor Emmanuel, 1870-1919.

acted as a freelance conservator

39, pl.1114; Christie’s, London, 12

Trenkwald, Old Oriental Carpets,

Sarre & Trenkwald, pls.22-3; Pope

of carpets and textiles for the

October 1989, lot 50.

Leipzig 1926-29, vol.II, pl.14 (detail,

1938-39, pl.1118; Bode & Kühnel

MIAQ, whose in-house conser-

(4) The Bardini Tabriz cloudband

with structure analysis); Pope 1938-

1970, p.108; Erdmann 1970, p.152,

vator Mona al-Saie spent each

and medallion carpet. See note

39, pl.1133; Wilhelm von Bode &

fig.153; Dimand & Mailey, p.43,

summer working in London pre-

13 above.

Ernst Kühnel, Antique Rugs from

fig.64; Ralph Pinder-Wilson et al.,

paring carpets and textiles for

(5) The Martin Tabriz arabesque and

the Near East, London 1958/1970,

The Arts of Islam, London 1976,

exhibition. Much of the collection

medallion carpet. 279 x 373cm,

p.127, fig.90; Erdmann 1962, fig.58;

p.98, pl.58. Other sections: (a) 135

was analysed and photographed

approximately half the length.

Maurice Dimand & Jean Mailey,

x 48cm, section of lower right bo-

at the Studio and in 2004, the

Whereabouts unknown. Formerly

Oriental Rugs in the Metropolitan

rder. Poldi Pezzoli Museum, Milan.

Studio made a full inventory in

F.R. Martin; private collection,

Museum of Art, New York 1973,

Formerly The Textile Gallery, Lon-

preparation for a catalogue of the

Vienna; Wher Collection. Christie’s,

pp.46, 98, no.6 and pp.134-5, fig.67

don; Wher Collection; private col-

collection. The project was aban-

London, 22 April 1999, lot 150.

(with detail and structure analysis);

lection, Genoa. Christie’s, London,

doned in 2005 and no records

(6) The Purrmann Tabriz spade-like

Thomas J. Farnham, ‘The Yerkes

21 November 1985, lot 25; Michael

have been kept of acquisitions

cartouche and medallion carpet.

Collection’, HALI 101, 1998, p.74,

Franses & Ian Bennett, The Textile

after this date.

Top half. Hans Purrmann Collect-

fig.1, and p.112, note 31.

Gallery Brochure No.2, London

20 The Rothschild Tabriz

ion, Heidelberg. Eleanor Sims,

15 During the 15th century one of

1986. p.25, pl.X. (b) section of

medallion carpet 1. Northwest

‘May Beattie’s Legacy’, HALI 131,

the most important centres of art

lower border. Eberhart Herrmann,

Iran, circa 1550. 356 x 658cm,

2003, p.114, fig.1.

and culture in Iran was Herat in

Emmetten. Formerly The Textile

wool pile on a cotton foundation.

(7) Northwest or central Iranian car-

Khorasan Province, east Iran (now

Gallery, London; Wher Collection.

MIAQ, no.CA20, acquired at the

pet, late 16th century, with inter-

west Afghanistan). Over the past

(2) The Gulbenkian houri and

Rothschild auction, Christie’s,

locking cartouche and medallion

century several carpet writers have

inscription silk rug. Dated 1529

London, 8 July 1999. Formerly

border. 365 x 800cm, reduced in

mistakenly attributed many classi-

AD. 93 x 236cm, silk pile on a silk

Louis Rothschild Collection, Vienna,

length. Carpet Museum, Tehran.

cal carpets to this region. However,

foundation. Gulbenkian Museum,

no.LR1575; Museum für angewan-

Formerly French & Co., New York;

we now believe that the number

Lisbon, no.T.113. Reportedly from

dte Kunst, Vienna, no.T.9490; heirs

Vojtech Blau, New York; The Textile

attributable to Khorasan is much

the tomb of Imam Reza at Mashad;

of Rothschild estate. Published:

Gallery, London. Ian Bennett (ed.)

smaller, as the materials and tech-

Calouste Gulbenkian Collection,

Siegfried Troll, Altorientalische

Rugs and Carpets of the World,

niques used in the area are relatively

Paris, acquired in 1939. Gulben-

Teppiche, Vienna 1951, pl.3;

London 1978, p.87.

easily identifiable (Michael Franses,

kian Museum, Tapetes Orientais,

Charles Grant Ellis, Oriental Car-

22 A number of carpets that have

‘The Caucasus or North-East Persia:

Lisbon 1985, pl.III; HALI 114, 2001,

pets in the Philadelphia Museum

been attributed to Tabriz such as

A Question of Attribution’, in E.H.

p.75; Assadullah Souren Melikian-

of Art, Philadelphia 1988, p.176,

members of the ‘Salting’ group

Kirchheim et al., Orient Stars, A

Chirvani, Le Chant du monde, L’Art

note 6 (cited); Christie’s, London,

(John Mills, ‘The Salting Group: A

Carpet Collection, London 1993,

de l’Iran safavide, 1501-1736, Paris

8 July 1999, lot 188; HALI 105,

History and a Clarification’, in

pp.94-100; Daniel Walker, ‘Carpets

2007, pp.266-7, no.65.

1999, p.149 (detail). Structure

Murray L. Eiland & Robert Pinner

of Khorasan’, HALI 149, 2006,

(3) The London Ardabil medallion

analysis: Warp – White cotton,

(eds.) Oriental Carpet and Textile

pp.72- 77). The oldest Khorasan

carpet. Kashan (?), central Persia,

Z4-5, marked displacement of

Studies, V/2, Danville 1999, pp.1-

carpets known, possibly 15th

dated AH 946 (1539-1540). 530 x

alternate warps; Weft – Cotton,

17), can be grouped by materials

century, are:

1,052cm, wool pile on a silk foun-

white, apricot-tan, 3 shoots, Z2;

and weave with the Ardabil carpets

(1) Multiple-medallion carpet.

dation. Victoria & Albert Museum,

Pile – Asymmetric knot, open left;

and possibly ascribed to Kashan.

Sections in: Museum of Islamic

London, no.272-1893. Pope 1938-

Colours – 11; Sides – not original;

Many of the remaining carpets

Art, Berlin, no.I.39/70 (Friedrich

39, pls.1134-6; Donald King, ‘The

Ends – missing.

attributed to Tabriz also need reap-

Spuhler, Oriental Carpets in the

Ardabil Puzzle Unravelled’, HALI

21 Other classical Tabriz and north-

praisal, including the Baron/Robin-

Museum of Islamic Art, Berlin,

88, 1996, p.88, fig.1.

west Persian carpets with the

son pair (note 14 above), the Chel-

London 1988, pp.110, 267, no.127);

(4) The Los Angeles Ardabil medal-

interlocking cartouche and

sea (Pope 1938-39, pls.1130-31),

Textile Museum, Washington DC,

lion carpet. Kashan (?), central

medallion border:

the Anhalt (ibid., pls.1137-8), the

no.R63.00.17; Metropolitan Mus-

Persia, dated AH 946 (1539-1540).

(1) The Yerkes-Blumenthal Tabriz

Garland (ibid., pl.1142), the Clam

eum of Art, New York, no.2001.54;

400 x 719cm, wool pile on a silk

cloudband and medallion carpet.

Gallas (ibid., pl.1143), the Bardini

Marshall & Marilyn R. Wolf Col-

foundation. Los Angeles County

464 x 1237cm, wool pile on a

(ibid., pl.1144) and the Widener

lection, New York (Walker 2006,

Museum of Art, no.53.50.2. For-

cotton foundation. Metropolitan

(ibid., pl.1148), do not fit

p.73, figs.2-4, with structure

merly John Paul Getty Collection.

Museum of Art New York, no.41.

comfortably into the main body of

analyses).

Mumford 1910, pl.XXVII; King

100.113, gift of George Blumen-

rugs attributed to this region.

(2) Compartment design carpet.

1996, p.89, fig.2; Farnham 1998,

thal. Formerly Charles T. Yerkes,

23 See note 17 above, no.1.

Sections (both formerly with F.R.

p.85, fig.22.

New York. Pope 1938-39, pl.1113

24 See note 21 above, nos.1-3.

Martin) in: Museum of Islamic Art,

(5) Medallion vase carpet. Kerman,

(detail); Dimand & Mailey, p.42,

25 For the Bode and Mackay

Berlin, no.98.353 (Spuhler 1988,

dated AH 1067 (1656). Sarajevo

fig.63 and pp.96-7, no.3 (with

carpets see note 55, nos. 4-5.

pp.79, 218, no.75); Metropolitan

Museum (present whereabouts

structure analysis); Farnham 1998,

Two Tabriz prayer rugs:

Museum of Art, New York, no.1991.

uncertain). Pope 1938-39, pl.1238.

p.79, fig.12.

(1) The Chihil Sutun niche rug with

154 (Walker 2006, p.72, fig.1).

(6) Tree Carpet. Kerman, dated

(2) The McMullan-Chicago Tabriz

medallion. 99 x 159cm. Carpet

16 Shah Ismail Abu’l-Mozaffar bin

AH 1082 (1671). Mausoleum of

cloudband and medallion carpet.

Museum, Tehran. Formerly Chihil

Sheikh Haydar bin Sheikh Junayd

Shah Abbas II, Qum. Pope 1938-

432 x 981cm. Art Institute of Chi-

Sutun Palace, Esfahan. Kurt Erd-

Safawi,17 July 1487-23 May 1524.

39, pl.1260.

cago. Formerly Joseph V.

mann, ‘Türkische Gebetsteppiche

17 Dated classical Iranian carpets:

18 For a comprehensive list of

McMullan, New York. McMullan,

im Tschihil Sutun’, in Dacca Mus-

(1) The Pope Pius IX Tabriz hunting

‘Polonaise’ rugs, see Friedrich-Karl

pp.64-5, pl.12 (detail).

eum, Nalini Kanta Bhattasali Com-

carpet. Dated either AH 929

Spuhler, Seidene Repräsentations-

(3) The Asfar-Sarkis Tabriz cloud-

memoration Volume, pp.87-93,

HALI ISSUE 155 28

PERSIAN CLASSICAL CARPETS pls.VII-XII, Dacca 1966, pl.VIII;

sons Alphonse, Louis and Eugene.

Vorderasiatische Knüpfteppiche

Erwin Gans-Rueden, Iranian Car-

28 Christie’s, London, 8 July 1999,

aus Älterer Zeit, Leipzig 1922, fig.85;

& F.R. Martin (eds.), Ausstellung

pets, Art, Craft and History, Fribourg

lot 188.

Friedrich Sarre, Ardabil, Berlin 1924,

von Meisterwerken Muhammed-

1978, pp.146-7 (with structure ana-

29 Ziegler & Co. was a British firm

pp.26-7 (cited); Sarre & Trenkwald,

anischer Kunst in München 1910,

lysis); Michael Franses, ‘Some Wool

of Swiss origin. Their first offices

vol.II, pl.38; Maurice Dimand, Hand-

Munich 1912, vol.4, no.7; Friedrich

Pile Persian-Design Niche Rugs’, in

in Tabriz were for the import of

book of Mohammedan Decorative

Sarre, Ardabil, Berlin 1924 (revised

Eiland & Pinner 1999, p.80, fig.7.

goods produced in Manchester.

Arts, New York 1930, fig.192; Lon-

reprint of Sarre 1910), pp.26-8,

(2) The Chihil Sutun niche rug with-

They had difficulty remitting their

don 1931, no.99 (cited); Pope 1938-

fig.23; Gaston Migeon, Manuel

out medallion. 100 x 139cm. Car-

revenue back to England, so in

39, pl.1177; Chicago 1947, no.17

d’Art Musulman, Vol.2, Arts Plas-

pet Museum, Tehran. Formerly

1883 began manufacturing carpets

(details); Ignace Schlosser, The

tiques et Industriels, Paris 1927,

Chihil Sutun Palace, Esfahan. Erd-

in Arak (Sultanabad) that could be

Book of Rugs, New York 1963,

pp.372-4, p.370, fig.450 (detail);

mann 1966, pl.VII; Gans-Ruedin

exported back to England. Soon

p.125, no.46 (detail); Dimand &

Jens Kröger, ‘Paris-Berlin-Lisbon.

1978, pp.148-9 (with structure

Ziegler controlled 2,500 looms in

Mailey, pp.100-1, no.11, p.52,

Several carpets and exhibtions of

analysis); Franses 1999, p.80, fig.8.

Sultanabad and had a near mono-

fig.75; Erdmann 1970, p.183

carpets in the late nineteenth and

It is said, without any firm evid-

poly for almost twenty years.

(detail); Gigi Pagnano, L’Arte del

early twentieth centuries’, in Gilles

ence, that the pair of medallion

30 Ardabil is situated in northwest

Tappeto Orientale ed Europeo,

2004, pp.58-63, p.59, fig.1. Struc-

and cartouche Tabriz carpets that

Iran, in the heart of Azarbayjan

Busto Arsizio 1983, fig.215; Dimand

ture: Warp – silk, Z2S, ivory, 176

passed through Beghian in London

Province, not far from the border

& Mailey, pp.100-1, no.11, p.52,

per dm, fairly depressed. Weft –

(Museum für angewandte Kunst,

with the Transcaucasus region; the

fig.75: King 1996, p.90, fig.3; Farn-

silk, Z singles, 1 yarn used together,

Vienna, no.T.10211, Angela Völker,

Caspian Sea lies some 60 kilo-

ham 1998, pp.75-87, p.82, fig.16..

ivory, 3 sheds per weft break,

Die Orientalischen Knüpfteppiche

metres to the east and the provin-

33 The Sarre Ardabil Shrine

weft break count 88 per dm. Pile –

im MAK, Vienna 2001, no.90;

cial capital Tabriz lies about 200

animal carpet 2. Probably Kashan,

wool, asymmetric knots open on

Eberhart Herrmann, Emmetten,

kilometres to the southwest. The

central Iran, mid-16th century. 183

left, 7,744 per dm2. Colours – 13

HALI 61, 1992, pp.66-7) had once

Safavids spoke Azeri, a Turkic

x 354cm, wool pile on a silk foun-

(ivory, yellow, golden orange, pink,

come from the Ottoman Sultan

tongue, but their origins as Turkic

dation. MIAQ, no.CA43, acquired in

magenta, blue, navy, green, fawn

Selim I, who acquired them from

people of pure Aryan (Iranian) stock

2002 through Grogan & Co., Bos-

and brown-black). Some of the

the Blue Mosque in Tabriz.

are much disputed. They traced

ton, and The Textile Gallery, London.

flowers in the field and border are

26 Three classical Tabriz carpets

their origins back to Ardabil in the

Reputedly from the Shrine of

of silk-cored metal thread inter-

in Istanbul:

early 11th century, in order to estab-

Shaikh Safi, Ardabil; Ziegler & Co.,

lacing (plainweave).

(1) Section from the Katif Muslihidd

lish the descent of the Safavid

Manchester; Vincent Robinson &

34 As well as the two Ardabil

saf. 270 x 430cm, wool pile on a

house from the 7th Shia Imam,

Co., London; Baron Adolph Thiem,

carpets, the exhibition included

cotton foundation. Turkish & Islamic

Musa al-Kazim, and through him

Berlin; Friedrich Sarre Collection,

about twenty others from the firm

Arts Museum, Istanbul, no.105.

to Ali, the first Imam. It was on this

Berlin; Mrs John D. Rockefeller,

and two belonging to Mr J.E. Taylor.

Possibly donated by Shah Tahmasp

basis that in Tabriz in 1501 the first

New York; private collection, New

The following year the text was re-

to the Great Süleyman Mosque,

Safavid Shah, Ismail, declared his

York. Published: Edward Stebbing,

published by private subscription as

Istanbul, 1567; Katif Muslihidd

right to rule Iran, but the official

The Holy Carpet of the Mosque at

a folio edition of 50 copies .

Mosque, Istanbul. Erwin Gans-

Safavid genealogy was only written

Ardebil, attached to the publication

35 It is surprising that Vincent

1911, fig.27 (detail); Friedrich Sarre

Ruedin, Indian Carpets, London

in the mid-14th century and con-

of A Paper on Persian Carpets, read

Robinson did not include any of

1984, pp.110-11; Day 1996, p.141,

tains inconsistencies. See Roger

at the Meeting of the Art Workers’

these four carpets in the second

no.112; Franses 1999, p.75, fig.1a.

Savory, Iran Under the Safavids,

Guild, December, 1891, together

of his two folio editions. The first

(2) The Istanbul Tabriz spirals and

Cambridge 1980, chapter 1.

with A List of Carpets in the Col-

volume (Robinson 1882), contains

medallion carpet. Reduced in length.

31 See note 17 above, nos.3-4.

lection of Vincent Robinson and

some superb historical carpets,

Turkish & Islamic Arts Museum,

32 The Yerkes Ardabil Shrine animal

Co., London 1892, no.3, pp.19-20,

including: one of a pair of early

Istanbul. Unpublished.

carpet. Probably Kashan, central

(no mention is made of this carpet

compartment carpets (see note 14

(3) The Topkapı Tabriz cartouche

Iran, mid-16th century. 178 x

coming from the Ardabil Shrine);

above, no.2), and a 16th century

and medallion carpet. Approx. 300

333cm, wool pile on a silk found-

Edward Stebbing, The Holy Carpet

medallion and animal rug, both in

x 700cm, reduced, with two holes

ation. Metropolitan Museum of

of the Mosque at Ardebil, London

the Metropolitan Museum of Art;

cut out for pillars. Whereabouts

Art, New York, no.10.61.2, pur-

1893, large format plates edition,

a 16th century silk-foundation rug

unknown (seen by Kurt Erdmannin

chased at the Yerkes auction in

pl.4; Gaston Migeon, Exposition

from central Iran; a 17th century

a room in the harem in the mid-

1910 (Frederick C. Hewitt Fund).

des Arts Musulmans au Musée

‘Polonaise’ rug from Esfahan; and

1930s). Formerly Topkapı Palace

Reportedly from the Shrine of

des Arts Décoratifs, Paris 1903,

the famous 17th century Mughal

Museum, Istanbul. Christine Klose,

Shaikh Safi at Ardabil; Ziegler &

pl.79 (detail); A. von Scala, Wilhelm

Indian Fremling carpet in the Vict-

‘A Clarification: The Topkapı Harem

Co., Manchester; Vincent Robin-

Bode & Friedrich Sarre, Ancient

oria & Albert Museum. The second

and the Vienna Medallion and Car-

son & Co., London; Charles T.

Oriental Carpets, Leipzig 1908, pl.7;

volume (Vincent Robinson, East-

touche Carpets’, HALI 64, 1992,

Yerkes Collection, New York.

Friedrich Sarre, Altorientalische

ern Carpets, Twelve Early Exam-

p.97, fig.2 (with structure analysis).

Published: Mumford 1910, pl.XVIII;

Teppiche, Leipzig 1908, pl.VII;

ples (Second Series), London

27 It is not clear whether the car-

American Art Association, New

Friedrich Sarre, ‘Ardabil’, in Die

1893) includes the famous mid-

pets were acquired by Anselm von

York, The Charles T. Yerkes Collec-

Denkmäler Persischer Baukunst,

16th century Robinson-Sangiorgi

Rothschild in the 1860s and 1870s,

tion, 5 to 9 April 1910, lot 216

Berlin 1910, vol.I, p.44, fig.45 (‘Teil

carpet (Pope 1938-39, pl.1179).

or by his three surviving sons,

(Mumford assumed that this car-

eines angeblich aus der Moschee

36 Rexford Stead, The Ardabil

Nathaniel, Albert and Ferdinand.

pet, and its pair in the the Sarre

des Schech Safi in Ardabil stam-

Carpets, Malibu 1974, p.36. How-

Ferdinand and Nathaniel both died

collection (published by Stebbing)

menden Knüpfteppichs, im Besitz

ever, it is possible that the Robin-

childless, Ferdinand shared his

were one and the same); Wilhelm

von F. Sarre in Berlin’); Ausstellung

son employee was talking about

collection between Waddesdon

Valentiner, Catalogue of a Loan

München 1910. Ausstellung von

the Robinson-Yerkes-Frick Mughal

Manor in England and the British

Exhibition of Early Oriental Rugs,

Meisterwerken Muhammedan-

shrub carpet, which may have

Museum, while Nathaniel’s passed

New York, 1910, no.25; Walter A.

ischer Kunst [carpets catalogued

come from Mashad: some impor-

to Albert, re-uniting a major part of

Hawley, Oriental Rugs, Antique

by Friedrich Sarre], Munich 1910,

tant Mughal lattice carpets left the

the collection. Albert died in 1911

and Modern, New York 1913, pl.14;

p.18, no.7, R.24 (cited); Wilhelm

Shrine in Mashad and are now in

and his collections passed to his

Wilhelm von Bode & Ernst Kühnel,

Bode, Anciens Tapis d’Orient, Paris

Western collections. In Gardens of

29 HALI ISSUE 155

PERSIAN CLASSICAL CARPETS Eternal Spring, New York 2006,

Pope in November 1925. Initially

erie” in Islamic Carpet Design’,

pp.571-89, 1957, p.577, note 2

Steven Cohen goes to great lengths

John D., Jr. agreed to pay $40,000

HALI 48, 1989, pp.38-45, p.39.

(cited); May H. Beattie, The Thys-

to uncover the provenance of the

for the carpet plus $2,000 for rep-

46 Dimand & Mailey, p.53.

sen-Bornemisza Collection of Ori-

Frick Mughal Tree carpet, querying

airing it and $5,000 to $10,000 in

47 The Kelekian Niche Rug. Kashan

ental Rugs, Castagnola 1972,

Sarre’s ownership of the larger

import duties. (At the time the

(?), probably 1560s. 110 x 160cm,

pp.41-5, pl.IV (with structure ana-

section that was with Robinson.

United States imposed a 55% ad

wool pile on a silk foundation, with

lysis); Friedrich Spuhler, The Thys-

Thomas Farnham and I believe

valorem tariff on all carpets impor-

metal thread. Private collection,

sen-Bornemisza Collection, Carpets

that Sarre may have acquired the

ted into the country. How Rocke-

Turin. Formerly Topkapı Palace, Ist-

and Textiles, London 1998, pp.100-

Tree carpet from Robinson and

feller thought he could get away

anbul; Kelekian Collection, Istanbul;

3, no.20 (with structure analysis).

returned it to him after 1901,

with paying less than $22,000 is

Brauer Collection, Florence; Julius

(2) The Santa Clara medallion and

when Yerkes was in London

something I do not understand.)

Böhler, Munich; Bacri Frères, Paris;

vine scroll rug. 152 x 215.5cm,

buying carpets.

The repairs were done in Paris by

The Textile Gallery, London. Pub-

wool pile on a silk and cotton

37 Stead, p.37, quoting William

Meurdoch Indjoudjian’s restorers.

lished: Martin 1908, p.53, fig.132;

foundation. Museu Nacional de

Richard Holmes, who described

The work took until June 1926 and

Sarre & Martin 1912, vol.I, no.61,

Machado de Castro, no.T.746.

the Shrine in 1845.

cost approximately $7,000. When

pl.83; Migeon 1927, vol.II, p.379,

Formerly Convent of Santa Clara,

38 King 1996, pp.88-92, and p.116.

the carpet finally arrived in New

fig.454; London 1931, p.225,

Coimbra. Teresa Pacheco Pereira &

The discussion of their source

York, the Customs Officials

no.523; Pope 1938-39, pl.1166;

Jessica Hallett, The Oriental

was set out by Martin Weaver,

presented JDR, Jr. with a bill for

Franses & Bennett 1986, pp.16-19,

Carpet in Portugal, Carpets and

‘The Ardebil Puzzle’, in Textile

$22,083.25. He calculated the final

pl.VIII; Franses 1999, p.83, pl.2. C-

Paintings, 15th-18th Centuries,

Museum Journal, XXIII, 1984,

cost of the carpet, including Pope’s

14 dating: 1454-1641 AD.

Lisbon 2007, pp.92, 178, no.25

pp.43-51. Doubts were also raised

commission, to be $75,000.”

Structure analysis: Warp – silk,

(with structure analysis).

by A H. Morton, ‘Carpets at

Thomas J. Farnham, private

Z-spun, 2S ply, ivory. Weft – silk,

52 Cyrus was first King of Anshan,

Ardebil in the 18th century,’ in

communication, 12 March 2008.

Z-spun, unplied, dyed yellow, 3

and then became King of Persia

Oriental Art, xxiii, 1977, pp.470-1.

42 Vojtech Blau.

shoots. Pile – wool, Z-spun, 2 ply,

(546-529 BC). The first recorded

Accounts written in 1842 by the

43 Stebbing, pl.4.

asymmetric knots pulled to the

‘garden’ is Eden – whether and

then British Consul in Tabriz, Keith

44. Sarre 1908, pl.VII.

left, 8,400 per dm2. Metal brocad-

where it existed or not has never

Edward Abbott (Narrative of a

45 Small silk Kashan animal rugs:

ing – areas of rug left unknotted

been proven. The second great

Journey from Tabriz along the

(1) The Princezza animal design

and wrapped in silver thread with

historical garden, the so-called

Shores of the Caspian Sea, 1843,

silk Kashan rug. 178 x 238cm.

a silk core. Colours – 13 (magenta,

Hanging Gardens of Babylon

unpublished MS, London, Public

Metropolitan Museum of Art, New

rose, beige, orange, two greens,

(Shu-anna, Semiramis, Tintir), was

Records Office, FO 251/40, p. 32),

York, no.14.40.721. Formerly Prince

two blues, two yellows, light

reportedly built by King Nebuchad-

and William Richard Holmes

Princezza Collection; Edouard Chap-

green-blue, ivory, corroded-black).

nezzar in about 600 BC, but its

(Sketches of the shores of the

pey Collection; Benjamin Altman

48 At the home of Vojtech Blau.

exact site and size have never

Caspian Sea, London, 1845, p.37),

Collection, New York. Galerie

49 In the 1990s I was also able to

been determined. The gardens of

leave little doubt that they saw at

Georges Petit, Paris, 7 June 1907,

compare the Rothschild ‘Salting’

Babylon would have pre-dated

least one magnificent carpet in

lot 1912; Sarre & Trenkwald, vol.II,

rug now in the Khalili Collection

Pasargadae by about sixty years.

terrible condition bearing the same

pl.39; Pope 1938-39, pl.1199; Erd-

side-by-side with the London Arda-

53 The term was taken up by Pope

date as the Ardabil. The account

mann 1970, p.62, fig.62; Dimand

bil medallion carpet and two frag-

(1938-39, pp.2263-5) to describe,

given by Heinrich Jacoby in How

& Mailey, pp.101-2, 142-3, no.13,

ments from the border of the Los

according to Ellis (1988, p.163),

to know Oriental Carpets and

fig.79; Eberhart Herrmann, ‘A

Angeles carpet. The similarities in

“the carpets in which woods and

Rugs, London 1962, pp.27-28

Great Discovery’, HALI 36, 1987,

weave and colours are so great

covers abound in game of all sorts

(originally ABC des echten Tep-

pp.48-51, 105-6, pp.49, 105 (cited);

that I am inclined to attribute these

to be hunted, streams and springs

pichs, 1949), is convincing.

Daniel Walker, ‘Metropolitan Quar-

carpets to the same workshop.

never run dry, and trees and shrubs

39 In 1910, Mumford published

tet’, HALI 76, 1994, pp.104-107,

50 Mills 1999; Franses 1999.

never lose their blossoms”.

the folio edition of the collection

pp.104, 120, pl.1.

51. Two 16th century wool pile

54 George Rawlinson, The Seven

of carpets belonging to the dis-

(2) The Ludlow animal design silk

rugs with metal thread from

Great Monarchies Of The Ancient

graced businessman Charles Tyson

Kashan rug. 175 x 232cm. Detroit

central Iran:

Eastern World, vol.7: The Sassan-

Yerkes, who had died five years

Institute of Art, no.25.23. Formerly

(1) The Enzenberg palmette and

ian or New Persian Empire.

earlier. The text from Mumford’s

Lady Ludlow, London; Edsel Ford,

arabesque Esfahan carpet. 178 x

55 Seven Iranian ‘Paradise Park’

volume of hand-painted illustrat-

Detroit. Erdmann 1970, p.62, fig.63;

370cm, wool pile on a silk and

carpets from the 16th century:

ions was used for the American

Herrmann 1987, pp.49, 105 (cited).

cotton foundation with metal

(1) The Schwarzenberg ‘Paradise

Art Association auction catalogue

(3) The Aynard animal design silk

thread. Thyssen-Bornemisza Family

Park’ carpet 1. Central Iran, circa

on 8 April 1910. Farnham 1998,

Kashan rug. 168 x 234cm. Carpet

Collection, no.DEC0458. Formerly

1550. 257 x 517cm, wool pile on a

p.80, tells us that “Edward Robin-

Museum, Tehran. Formerly Edouard

Count Arthur Enzenberg Collection,

silk and cotton foundation. Acqu-

son, the assistant director of the

Aynard Collection, Lyon; David

Vienna; Dr W. von Dirksen Collec-

ired by th MIAQ in 2003 through

Metropolitan Museum, and his

Rockefeller Jr. Collection, New

tion, Berlin; Countess de Béarn

Galerie Sanct Lucas, Vienna, and

colleague Wilhelm Valentiner att-

York. Erdmann 1970, p.62 (cited);

Collection, Paris, Marquis de Ganay

The Textile Gallery, London. Form-

ended the sale. They arrived with

HALI 2/2, 1979, p.99, fig.8; Herr-

Collection, Paris; Rosenberg &

erly Prince Adolf Schwarzenberg,

money to spend. Just a week

mann 1987, pp.49, 105 (cited).

Stiebel, Paris. Published: A. Von

Vienna; Prince Charles Schwarz-

before the auction, Valentiner wrote

(4) The Hakki Bey/Peytel animal

Scala et al., Katalog der Ausstel-

enberg Collection, Vienna, no.3.

to his friend and mentor Wilhelm

design silk Kashan rug. 109 x

lung Orientalischer Teppiche, im

Von Scala et al. 1891, p.260,

von Bode [at the Berlin Museum],

124cm. Musée du Louvre, Paris,

K.K.Österr. Handels-Museum, 1891,

no.322 (cited); A. von Scala et al.,

to inform him about the Metro-

no.6741, acquired in 1919. Form-

Vienna 1891, no.355, illus. p.273

Orientalische Teppiche, Vienna

politan’s plans… (to spend) some

erly Hakki Bey Collection; Joanny

(detail); Martin 1908, p.73, fig.168;

1892, no.41, pl.XXXI; Wilhelm

100,000 of dollars to purchase some

Peytel Collection. Sarre & Trenk-

Bode & Kühnel 1922, p.21, fig.31

Bode, Vorderasiatische Knüpftep-

of the most beautiful carpets.”

wald, vol.II, pl.40; Erdmann 1970,

(detail); Migeon 1927, p.380; Kurt

piche aus Älterer Zeit, Leipzig [n.d.],

40 Valentiner, p.31.

p.188, fig.233; King & Sylvester,

Erdmann, review of ‘Arazzi e Tap-

fig.19 (detail); Martin 1908, p.38,

41 “Rockefeller purchased [the Ard-

p.92, no.66; Herrmann 1987, pp.49,

peti Antichi. Mercedes e Vittorio

fig.92; Sarre & Martin, vol.I, pl.45,

abil carpet] through Arthur Upham

105 (cited); Susan Day, ‘“Chinois-

Viale. Rezension’, Ars Orientalis, II,

no.4 (with structure analysis);

HALI ISSUE 155 30

PERSIAN CLASSICAL CARPETS Bode 1911, fig.19 (detail); Carl Hopf,

Stieglitz Collection. Published;

Stefano Bardini, Florence; Charles

Perskiej ze Zbiorów Polskich,

Die Altpersischen Teppiche, Munich

Sarre & Trenkwald, vol.II, pl.21

T. Yerkes Collection, New York;

Warsaw 2002, p.90, no.36 (with

1913, p.21, fig.28; A.F. Kendrick &

(cited); London 1931, no.255;

Cottier & Co.; Mr and Mrs Herbert

structure analysis).

C.E.C. Tattersall, Hand-Woven Car-

Pope 1938-39, pp.2308, 2385,

L. Pratt. Published: Mumford 1910,

56 The Schwarzenberg is missing

pets, Oriental and European, Lon-

pl.1204; Ernst Kühnel, ‘Ein neuer-

pl.VII; American Art Association

the outer guard border on one

don 1922, p.23; Bode/Kühnel 1922,

worbener Persischer Tierteppich’,

1910, lot 205; Valentiner, p.35,

side, but is otherwise complete.

pp.14-15, fig.13 (detail); Heinrich

in Berliner Museen, Berichte aus

no.28; Ellis 1965, pp.48 and 50,

57 An exception is the in the

Glück & Ernst Diez, Die Kunst des

den ehemaligen Preussischen

fig.11, and p.55, note 24; Erdmann

medallion of the Hatvany carpet,

Islams, Berlin 1925, p.376; Sarre &

Kunstsammlungen, 1957, p.8, ill.4;

1970, pp.74 and 176, fig.220; King

which depicts a scene with figures.

Trenkwald, pl.21 (detail, with struc-

May H. Beattie, Carpets of Central

& Sylvester, p.89, no.63; Ian Ben-

58 Day 1996, p.128.

ture analysis); Migeon 1927, p.366

Persia, Sheffield 1976, pp.34-5,

nett, ‘Splendours in the City of Silk,

59 Other carpets related to the

(cited); Julius Orendi, Das Gesamt-

no.1a (with structure analysis); Ellis

part 2: Ten Safavid Masterpieces’,

Schwarzenberg carpet:

wissen über antike und neue Tep-

1988, fig.48b (detail) and p.164,

HALI 33, 1987, p.40, fig.1; HALI

(1) The Anhalt medallion and cloud-

piche des Orients, Vienna 1930,

note 5; Eiland, p.100, fig.4 (detail);

88, 1996, p.107; Farnham 1998,

bands carpet. 412 x 802cm. Met-

vol.II, p.159, fig.805; London 1931

HALI 153, 2007, p.38.

p.86, fig.25 and note 44; Thomas

ropolitan Museum of Art, New

(see note 13 above), no.138 (cited);

(4) The Mackay ‘cranes’ medallion

J. Farnham, ‘Bardini, Classical

York, no.46.128, Gift of Samuel H.

Pope 1938-39, pl.1203; Bode/Küh-

coronation carpet. 570 x 816cm,

Carpets, and America’, HALI 119,

Kress Foundation, through Rush

nel 1958/1970, fig.69; Schlosser,

wool pile on a cotton and wool

2001, p.77, fig.6. (c) 44 x 63cm,

H. Kress. Formerly Duke of Anhalt,

p.118, no.38 (detail); Pinder-Wilson

foundation. Los Angeles County

corner section. Musée Historique

Dessau (reputedly captured at the

et al., pp.98-9, no.59 (with struc-

Museum of Art, no.49.8. Formerly

des Tissus, Lyon, no.26.799, acq-

siege of Vienna, 1683); Sir Joseph

ture analysis); Ellis 1988, p.165,

private collection, USA; Clarence

uired in 1900. Formerly S. Baron,

Duveen, New York; Samuel H.

fig.48a; Murray L. Eiland., ‘Rethink-

Mackay, Long Island; John Paul

Paris. Ellis 1965, pp.48-9, fig.10

Kress; Rush H. Kress. Published:

ing Kerman, A New Look at Some

Getty, Malibu. Published: Sarre &

and p.55, note 24 (with structure

Persian Art, An Illustrated Souvenir

Safavid Carpets’, HALI 100, 1998,

Trenkwald, vol.II, pl.27 (detail, with

analysis); Erdmann 1970, p.176

of the Exhibition of Persian Art at

pp.98-103, p.99. Structure analysis:

structure analysis); London 1931,

(cited); Bennett 1987, part 2, p.40,

Burlington House London 1931,

Warp – cotton, Z5S, 138 per dm,

no.116 (cited); Pope 1938-39,

pl.1, and note 4 (with structure

London 1931, p.90, no.850; Pope

blue, depressed. Weft – silk, pos-

pl.1128; Bode/Kühnel 1958/1970,

analysis). (d) 43 x 17cm. Wher Col-

1938-39, pls.1137-9 (details); Bode/

sibly very slightly Z spun singles,

p.103, fig.71; Dimand & Mailey,

lection. Formerly Dikran Kelekian,

Kühnel 1958/1970, p.91, fig.60;

1 yarn used together, beige, 3

pp.42-3, fig.65; Pinder-Wilson et

New York; John Schorscher, Tor-

Dimand & Mailey, p.48, pp.98-9,

sheds per weft break, weft break

al., p.99, fig.60 (with structure

onto; The Textile Gallery, London.

no.7, pp.136-7, fig.69 (with detail);

count 72 per dm. Pile – wool, Z

analysis); Day 1996, pp.128-9,

Ladislav Cselenyi, Oriental Rugs

King & Sylvester, p.88, fig.62;

singles, 2 yarns used together,

pl.100 (detail). Reportedly laid out

from the Collection of John Schor-

Gans-Ruedin 1978, pp.42-3 (detail,

asymmetric knots open on left,

in front of the throne in Westmin-

scher, Toronto 1972, supplement.

with structure analysis).

4,900 per dm2. Colours – 10 (off

ster Abbey, London, for the coron-

(7) The Maciet Paris-Cracow

(2) The Fossati ‘Darius of the

white, light orange, orange, mag-

ation ceremony of King Edward VII

medallion and trees carpet. (a) 410

Universe’ medallion carpet. 227

enta, pink, light blue, mid blue,

in August 1902.

x 350cm, top half. Musée des Arts

x 505cm, wool pile with metal

navy, green and brown-black).

(5) The Von Bode ‘Paradise Park’

Décoratifs, Paris, no.10614. For-

brocade on a silk foundation. Poldi

Ends – top, 1cm band of magenta

carpet. 365 x 604cm originally, but

merly Jules Maciet. Published:

Pezzoli Museum, Milan, no.424.

silk singles (like those used for the

badly damaged in World War II –

Martin 1908, p.36, fig.93 (detail);

Formerly Giovanni Fossati; Gian

selvedge) weft-faced interlacing

less than a quarter now remains.

Friedrich Sarre, ‘Die Teppiche auf

Giacomo Poldi Pezzoli, acquired at

(plainweave); bottom, 1cm band of

Museum of Islamic Art, Berlin,

der Mohammedanischen Ausstel-

auction in 1855. Martin 1908, p.47,

beige silk singles (like those used

no.I.1. Formerly Wilhelm von Bode,

lung in München 1910’, Kunst und

figs.118-9 and p.49; Sarre & Trenk-

for weft) weft-faced interlacing

acquired from a synagogue in

Kunsthandwerk, XIII, 1910, pl.XVIII

wald, vol.II, pls.29, 30 (detail, with

(plainweave). Selvedge (left side

Genoa around 1890. Published

(with structure analysis); Migeon

structure analysis); Migeon 1927,

only) – attached selvedge

Martin 1908, p.33, fig.85; Bode/

1927, pp.359-60, fig.442; Pope

pp.369 and p.372, fig.449; Pope

comprising 2 warp units (1 free

Kühnel 1922, fig.12 (detail); Migeon

1938-39, pl.1140; Bode/Kühnel

1938-39, p.2324 and pl.1154 (detail);

floating blue cotton cord and 1

1927, pp.359-60, fig.442; Erdmann

1958/1970, p.102, fig.70; Ellis 1965,

Kurt Erdmann, ‘The Art of Carpet

integral cotton cord) overcast with

1970, p.126, fig.151 (detail); Ellis

pp.46-7, figs.7, 7a; Erdmann 1970,

Making’, in “A Survey of Persian

beige and magenta silk singles.

1988, p.164, note 7 (cited).

p.93, fig.103 and p.177; HALI 48,

Art. Rezension”, Ars Islamica, VIII,

(2) The Mantes ‘Paradise Park’

(6) The Hatvany ‘Paradise Park’

1989, p.51 (detail); Day 1996, p.127,

Ann Arbor 1941, pp.137, 162;

carpet. 379 x 783cm. Musée du

carpet. (a) 191 x 211cm. Where-

pl.99; James Allan et al., Hunt for

Bode/Kühnel 1958/1970, p.104,

Louvre, Paris, no.OA6610, wool

abouts unknown. Possibly Applied

Paradise, Court Arts of Safavid

fig.72; Gans-Ruedin 1978, pp.57-8

pile on a cotton foundation. Form-

Arts Museum, Budapest, subse-

Iran, 1501-1576, New York 2003,

(with structure analysis); HALI 61,

erly Collegiale de Mantes, acquired

quently lost during World War II.

p.302, no.2.22; Susan Day, ‘A Con-

1992, p.118; Day 1996, p.128, and

in 1912. Gaston Migeon, Musée

Formerly Baron Ferenc Hatvany,

noisseur and a Gentleman, Jules

p.130, pl.101.

du Louvre, L’Orient Musulman,

Budapest. Pope 1938-39, pl.1141;

Maciet and the Musée des Arts

(3) The Kohner-Cassirer medallion

Paris 1922, vol.I, no.125; Sarre &

Charles Grant Ellis, ‘Some Com-

Décoratifs’, HALI 153, 2007, p.101,

and animals carpet. 225 x 427cm,

Trenkwald, vol.II, pls.31, 32 (details,

partment Designs for Carpets, and

fig.13; Sabancı 2008, p.198, no.79.

wool pile on a cotton and wool

with structure analysis); Pope 1938-

Herat’, in Textile Museum Journal,

(b) 440 x 307cm, lower half.

foundation. Museum of Islamic

39, p.2292 and pl.1127; Eiland,

I/4, 1965, pp.42-56, p.47, fig.8 and

Treasury of Cracow Cathedral (on

Art, Berlin, no.I.7/56, acquired in

pp.101-2, fig.7 (detail); Musée du

p.55, notes 18, 22 and 23; Erdmann

loan to Wawel Royal Castle), don-

1956. Formerly Kohner Collection,

Louvre, Arabesques et Jardins de

1970, p.74, fig.82; HALI 30, 1986,

ated by King Jan Sobieski III, who

Budapest; Bernheimer Collection,

Paradis, Paris 1989, p.245, no.187

p.37; Day 1996, p.126, pl.98.

captured it at the Battle of Parkany

Munich; Adolf Cassirer, Berlin.

(with structure analysis); Sabancı

(b) ‘Angel’ section, 38 x 101cm,

in 1683. Sarre 1910, pl.VIII, no.8

Published: Arthur Upham Pope

2008, pp.200-1, no.81 (detail).

and six or more field and border

(with structure analysis); Erdmann

Catalogue of a Loan Exhibition of

(3) The Stieglitz ‘Paradise Park’ car-

sections, wool pile on a silk foun-

1970, p.177 (cited); Gans-Ruedin

Early Oriental Carpets, Chicago

pet. 262 x 251cm, upper half.

dation. Brooklyn Museum, New

1978, pp.44-5 (with structure

1926, no.9; London 1931, no.255;

State Hermitage Museum, St

York, no.36.213. Gift of Mrs Her-

analysis); Day 1996, p.127 (cited);

Pope 1938-39, pl.1204 (detail);

Petersburg, no.vt-994. Formerly

bert L. Pratt in 1936. Formerly

Tadeusz Majda, Arcydziela Sztuki

Bode/Kühnel 1955, p.100, fig.74;

31 HALI ISSUE 155

PERSIAN CLASSICAL CARPETS Erdmann 1970, p.152, fig.195;

Washington DC, 2006, see Walker

Jawashaqan Qali are now correctly

London. 88 x 100cm. Formerly

Beattie 1976, p.87, no.64; Spuhler

2006). Other exhibitions of this

reattributed to Kerman (Beattie

Jekyll’s, London; Cartier Collection

1988, pp.80, 220, pl.78 (with

nature include: Cairene rugs, see

1976) and those assigned to Fars

(?), Paris; Bakadjian, Paris; The

structure analysis); Eiland, p.101.

Ernst Kühnel & Lousia M. Bellin-

Province in southwestern Iran

Textile Gallery, London; Kirchheim

(4) The Bardini-Williams medallion

ger, Cairene Rugs and Others

have been reattributed to Kashmir.

Collection, Stuttgart; The Textile

and trees carpet. 515 x 415cm,

Technically Related, Washington

However, most of the rugs that he

Gallery, London. Roland Gilles et

reduced in length, wool pile on a

DC 1957; Spanish rugs, see Ernst

mistakenly attributed to eastern

al., p.149.

cotton, wool and silk foundation.

Kühnel & Louisa M. Bellinger,

Iran were probably made in central

(3) The Remarque arabesque and

Philadelphia Museum of Art,

Catalogue of Spanish Rugs, 12th

Iran, some perhaps in Esfahan.

shrubs fragment. 200 x 94cm,

Joseph Lees Williams Memorial

to 19th Century, Washington DC

67 Ellis 1988, pp.153-9, pl.47.

section, wool pile on a cotton,

Collection, no.55-65-26. Formerly

1953; Caucasian carpets, see

68 Ellis 1965, pp.46-9; Ellis 1988,

wool and silk foundation. Where-

Stefano Bardini, Florence; Indjou-

Charles Grant Ellis, Early Caucas-

pp.164-5.

abouts unknown. Formerly Eric

djian, Paris; M.F. Schutz, Paris;

ian Rugs, Washington DC 1975;

69 Eiland, proposing a ‘new’ type

Maria Remarque; Paulette God-

Joseph Lees Williams, Norristown.

Mughal carpets, see Daniel Walker,

for the fine weave carpets from

dard Collection, Ascona; Eberhart

Martin 1908, p.36, fig.91; Pope

Flowers Underfoot, Indian Carpets

Kerman, in my opinion incorrectly

Herrmann, Munich; private col-

1938-39, pl.1129; Beattie 1976,

of the Mughal Era, New York 1997.

attributed several of the ‘Paradise

lection, Switzerland. See Soth-

p.86, no.63; Ellis 1988, pp.160-7,

See also Pereira & Hallett 2007

Park’ carpets and related examples

eby’s, London, 18-19 November

pl.48 (with details, and structure

(note 154 below), which included

to Kerman, including the Schwarz-

1976, lot 14; Jean Lefevre, The

analysis); Eiland, p.100, fig.3;

a large group of Esfahan carpets.

enberg, the Mantes, and the Stieg-

Persian Carpet, London, 1997,

Farnham 2001, p.81, fig.15.

61 Pope 1938-39 correctly attri-

litz, as well as the Bardini-Williams,

pp.32-3, no.5. Exhibited: Paris,

(5) The Chelsea medallions and

butes the northwest Iranian medal-

the Kohner-Cassirer and the Chel-

Institut du Monde Arabe, 1989-94.

animals carpet. 315 x 541cm, wool

lion carpets, pls.1112-1125, to

sea. He ignores Beattie’s observa-

70 Two Kerman ‘Sanguszko’ car-

pile on a silk foundation. Victoria &

Tabriz, pls.1191-202 and 1262-5 to

tion that while “the border of the

pets with strap-work medallions:

Albert Museum, London, no.589-

Kashan, and pls.1206-14 to Kerman,

Bardini-Williams carpet with its

(1) Victoria & Albert Museum,

1890. Formerly art market, Chel-

but it is hard to agree with some

reciprocal colour scheme... relates

London. 268 x 516cm. Sarre 1908,

sea, London; reputedly William

of his other attributions.

to... the Schwarzenberg carpet...

pl.XXII, no.25.

Morris, London. Martin 1908, p.33,

62 The attribution of this group had

and to the Chelsea”, all of them

(2) The Béhague Sanguszko car-

fig.86 (detail); Sarre & Trenkwald,

been much discussed over the

are woven differently (Beattie 1976,

pet. 275 x 509cm, wool pile on a

vol.II, pl.15 (with structure analy-

years, but it was not until the

p.23). If Eiland were looking for

cotton and wool foundation. Thys-

sis); Pope 1938-39, pp.2301-2, and

Sheffield exhibition of 1976 and

fine-weave ‘vase-group’ Kerman

sen-Bornemisza Collection, Lug-

pls.1130-2; Bode/Kühnel

May Beattie’s excellent catalogue

carpets he might have considered

ano, no.DEC0456. Formerly Coun-

1958/1970, p.125, fig.89; Erdmann

that the group was clearly assem-

sickle-leaf pieces such as the Cor-

tess de Béhague (de Béarn) Col-

1970, p.184, fig.231 (detail); Gans-

bled. All but ten of the examples

coran throne carpet, the Jekyll frag-

lection, Paris; Marquis de Ganay

Ruedin 1978, pp.36-7 (detail, with

in the catalogue were from Kerman.

ments, the Remarque arabesque

Collection, Paris; Rosenberg &

structure analysis); King & Sylves-

Seven were correctly attributed to

and shrub fragment (see below, 1-

Stiebel, Paris. See Pope 1938-9,

ter, p.30, fig.33; Day 1996, p.111,

other places: no.5, the Hakki Bey/

3), or any of the ‘Sanguszko’ type

pp.2349, 2353, 2451, pl.1210; Erd-

fig.85 (detail); HALI 100, 1998,

Peytel small silk Kashan rug; no.5a,

carpets (ibid.; Ian Bennett & Mich-

mann 1941, p.169; Beattie 1972,

front cover and p.4 (detail); Eiland,

the Buccleuch Esfahan silk ‘Polon-

ael Franses, ‘The Buccleuch Euro-

pp.23-7, pl.II (with structure ana-

p.103, fig.8.

aise’ rug; no.6, the Doistau Louvre

pean Carpets & Others in the Ori-

lysis); Beattie 1976, pp.36-7, no.2,

(6a) The Martin strap-work border

silk Kashan kilim; no.8, the Figdor-

ental Style’, HALI 66, 1992, p.113).

and pl.2; Spuhler 1998, pp.80-3,

fragment. Textile Museum, Wash-

Thyssen silk Kashan kilim; no.48,

Perhaps Eiland’s confusion arose

no.15 (with structure analysis).

ington DC, no.33.4.15. Formerly

the Hewett Istanbul ‘fake’ vase

because Beattie had attributed

71 Pope 1938-39, pl.1163.

F.R. Martin, Stockholm; Dikran

carpet; no.61, the Burrell fragment

the Stieglitz and Bardini-Williams

72 While the Fossati carpet (note

Kelekian Collection, Paris and New

of the Ardabil ‘Kashan’ medallion

carpets to Kerman (Beattie 1976,

59 above) is probably not from the

York; George Hewitt Myers Collec-

carpet; and no.62, a ‘Tabriz’ border

pp.11-12, 34). I am not sure that

same workshops as the Graf

tion, Washington DC. Martin 1908,

fragment in the Keir Collection.

the Bardini-Williams is Kerman, as

Buquoy carpet (Pope 1938-39,

p.40, fig.101; Ellis 1965, p.42, fig.1.

Three others were perhaps incor-

the attribution is based on one

pl.1116) or the Parish-Watson

(6b) The Schwaiger cartouche frag-

rectly attributed to Kerman: no.1a,

element of structure only, and it

carpet (ibid., pl.1120), it is nearer

ment. Textile Museum, Washing-

the Stieglitz ‘Paradise Park’ carpet;

has none of the stylistic features

in general feel to these than to the

ton DC, no.33.4.9. Formerly Imre

no.63, the Bardini-Williams ‘Para-

of Kerman. The same can perhaps

Schwarzenberg.

Schwaiger, London, 1927; George

dise Park’ carpet; and no.64, the

be said for the Stieglitz, which I

73 Private collection. Carbon-dated

Hewitt Myers Collection, Washing-

Cassirer hunting carpet.

last examined over 25 years ago.

680-960 AD. Unpublished.

ton DC. Ellis 1965, p.43, fig.2.

63 See Franses 1993, pp.94-114,

Some Kerman sickle-leaf carpets:

74 A paper on the ‘Red Silk Rug’

(7/8) The Baron and Robinson

‘The Caucasus or North-East Per-

(1) The Corcoran throne carpet.

in the poem by Bai Juyi was read

carpets. See note 14 above.

sia: A Question of Attribution’, and

195 x 265cm, wool pile. Corcoran

at the Textile Museum, Washing-

60 Very few exhibitions of classical

‘The Influences of Safavid Persian

Gallery of Art, Washington DC,

ton DC by Ulrich Schürmann.

carpets have been based on shared

Art upon an Ancient Tribal Culture’,

no.26-278, on loan to The Textile

More recently it was discussed by

technical, material and aesthetic

where the principal examples of

Museum, Washington DC. Form-

Adele Schlombs in Michael Franses

characteristics that clearly identify

the group are clearly defined.

erly William A. Clark Collection.

& Hans König, Glanz der Himmels-

specific groups. Only four have

64 Erdmann 1970, pp.61-5.

See Pope 1938-39, p.2384, pl.1234;

söhne, Kaiserliche Teppiche aus

concentrated on specific classical

65 This group has caused the most

Charles Grant Ellis, ‘Kirman’s Her-

China 1400-1750, London 2005, p.6.

Persian types, ‘Polish Rugs’, Metro-

difficulty because many of them

itage in Washington: Vase Rugs in

75 See note 12 above, no.2.

politan Museum of Art, New York,

have long been confused with Herat

the Textile Museum, in Textile Mus-

76 The ‘Chess-Garden’ Carpet.

1930; ‘Masterpieces of Iranian Rugs

carpets, while others have been

eum Journal, II/3, 1968, p.19, fig.2;

162.5 x 371cm. MIAQ, no.CA19.

and Textiles’, Textile Museum,

confused with those from Tabriz.

Dimand & Mailey, p.77, fig.107;

HALI 89, 1996, p.137; HALI 100,

Washington DC, 1964; ‘Carpets of

66 Pope made attributions to other

Beattie 1976, p.50, no.15, pl.6.

1998, p.81; Jon Thompson, Silk,

Central Persia’ [Kerman], (Sheffield

specific places in Iran, including

(2) The Jekyll sickle-leaf Kerman

13th to 18th Centuries, Treasures

1976, see Beattie 1976; and ‘Khor-

Jawshaqan Qali, Yazd and Fars.

carpet. (a) Wher Collection. 230 x

from the Museum of Islamic Art,

asan’ carpets (Textile Museum,

Many of the rugs he assigned to

155cm. (b) Private collection,

Qatar, Doha 2004, pp.82-5, no.20.

HALI ISSUE 155 32

PERSIAN CLASSICAL CARPETS 77 The Gulbenkian houri and ins-

central Iran, mid-16th century. 180

Farnham, ‘From Lessing to Etting-

Altman Collection, New York. See

cription silk rug. See note 17, no.2.

x 235cm, silk pile on a silk foun-

hausen’, HALI 154, 2007, p.86,

Sarre & Trenkwald, vol.II, pl.41;

78 The Pope small silk tomb cover.

dation. MIAQ, no.CA21, acquired

fig.14.

Dimand & Mailey, pp.56, 102,

305 x 106.7cm. Cincinnati Art

at the Rothschild auction at Chris-

(2) The Branicki slk Kashan hunting

no.14, fig.80; Walker 1994, p.105,

Museum, Cincinnati, no.1953.24.

tie’s, London, 8 July 1999, lot 190.

carpet. 350 x 760cm. Villa

120, pl.2.

Formerly Arthur Upham Pope. See

Formerly Rothschild Collection,

Willamove, Warsaw, presumed

(3) The Goupil four-lobed medallion

Anthony Welch, Shah Abbas & the

Vienna, no.AR2008; MAK, Vienna,

destroyed during World War II.

rug. 185 x 245cm. Musée des

Arts of Isfahan, New York 1973,

no.T9304; heirs of the Rothschild

Formerly Count Branicki Collect-

Gobelins, Paris, no.GOB1534.

pp.42, 67-8, no.25; Melikian-Chir-

estate.Published: Siegfried Troll,

ion, Warsaw. Pope 1938-39,

Formerly Albert Goupil Collection,

vani, pp.268-9, no.66; Jill Tilden,

Altorientalische Teppiche, Vienna

pls.1195-6.

Paris. See Von Scala et al. 1892,

‘Safavid Art Paris Style’, HALI 154,

1951, p.5, pl.11; Kurt Erdmann,

(3) Border fragments from the pair

vol.III, pl.LXXV; London 1931,

2007, p.115. A translation of the

‘Die kleinen Seidenteppiche Kas-

to the Branicki silk Kashan hunting

p.101, no.179 (cited); Pope 1938-

script by Arthur G. Arberry, Pem-

chans’, in Pantheon, XIX/4, 1961,

carpet. 140 x 256cm, two joined

39, pl.1201; Erdmann 1970, p.61,

broke College, Cambridge, edited

pp.159ff.; Erdmann 1970, p.74,

sections. Museum für Kunst und

fig.60; King & Sylvester, pp.92-3,

or ‘reformulated’ by Phyllis Acker-

pl.66; Dora Heinz, ‘Die Persischen

Gewerbe, Hamburg. Formerly

no.68; Susan Day, ‘The Artist’s

man, is on file at the museum. I

Teppiche im Österreichischen

Rothschild Collection; Ulrich

Eye: Carpet and Textile Collections

am grateful to Dr Glenn Markoe

Museum für angewandte Kunst’,

Schürmann, Cologne. Palais

of the Orientalists’, HALI 126,

for information on this rug. For

in Bustan, 4/1, 1970-71, p.23;

Galliera, Paris, 28 March 1968,

2003, pp.94-104, p.104, fig.22.

further discussion see Michael

Angela Volker (ed.), Kunst des

lot 108. See Peter W. Meister &

(4) The Khalili four-lobed medallion

Franses, ‘Earthsong’, www.hali.com,

Islam, Vienna 1977, pp.34, 46,

Siawosch U. Azadi, Persische

rug. 180 x 242cm. Khalili Collect-

14 December 2007.

no.17 (with structure analysis);

Teppiche, Hamburg 1971, p.19,

ion, Switzerland, no.TXT144. For-

79 References to Persian silk car-

Christie’s London, 8 July 1999, lot

no.2, frontispiece.

merly Private collection, London;

pets can be found in 16th century

190; HALI 105, 1999, p.148; Thom-

(4) The Torrigiani silk Kashan

Anglo-Persian Carpet Co., London;

European inventories, e.g.: (a) a

pson 2004, pp.58-61, no.13. Struc-

hunting carpet. 255 x 480cm.

The Textile Gallery, London.

large all-silk Persian carpet in the

ture analysis: Warp – silk, Z2S, 186

Museum of Fine Arts, Boston,

(5) The Amsterdam eight-lobed

1583 inventory of the castle of

per dm, yellow, depressed. Weft –

no.66.293. Formerly Marchese

medallion rug. 168 x 245cm.

Joinville (Monique King, ‘French

silk, singles (no discernable spin),

Torrigiani Collection, Florence,

Portuguese-Israelite Community

Documents Relating to Oriental

1 yarn used together, ivory, 3

1879; Stefano Bardini, Florence;

Collection, Sephardi Synagogue,

Carpets, 15th-16th Century’, in

sheds per weft break, weft break

Adolphe Rothschild Collection,

Amsterdam. Erdmann 1970, p.63,

Robert Pinner & Walter B. Denny

count 114 per dm.

Paris; Maurice Rothschild Col-

fig.64; HALI 61, 1992, p.124.

(eds.), Oriental Carpet & Textile

Pile – silk, singles (no discernable

lection, Paris; John Goelet Col-

(6) The Johnston eight-lobed

Studies II; Carpets of the Mediter-

spin), 1 yarn used together, asym-

lection. See Sarre & Trenkwald,

medallion rug. 171 x 249cm.

ranean Countries 1400-1600,

metric knots open on left, 10,600

vol.II, pls.24-26; Pinder-Wilson et

Metropolitan Museum of Art, New

London 1986, p.137); (b) the 1589

per dm2. Colours – 10 (ivory, cream,

al., no.57; Denny 1978, pp.156-64,

York, no.58.46, acquired 1958. For-

inventory of Catherine de Medici

very pale blue, yellow, gold, green,

fig.4; Allan et al., p.286, no.12.12;

merly John Taylor Johnston

mentions a Persian carpet of silk

blue-green, blue, magenta and

Farnham 2007, p.87, fig.15.

Collection; Mrs Douglas M. Mof-

with gold ground measuring 356 x

brown-black). Ends – top, 4mm

(5) The Stockholm silk Kashan

fat. See Erdmann 1970, p.63,

158cm (ibid., p.136). See also the

band of magenta silk weft-faced

hunting carpet. 285 x 555cm.

fig.65; Dimand & Mailey, pp.58,

Rothschild Polonaise carpet 6, note

interlacing (plainweave); bottom,

Swedish Royal Collection, Stock-

102-3, no.16, fig.82; King & Syl-

100 below. Also, Ottoman minia-

6mm band of magenta silk weft-

holm, no.467. Pope 1938-39,

vester, p.92, no.67; Walker 1994,

ture paintings and written records

faced interlacing (plainweave).

pls.1193-4; Erdmann 1932; King &

pp.107, 120, pl.4.

attest to carpets among diplomatic

Selvedge – overcast over two

Sylvester, p.43, no.65; HALI 5/3,

(7) The Bacri eight-lobed medallion

gifts from the Safavid Shahs to the

warp units (Z2S4Z cord).

1983, front cover and p.309; HALI

rug. 165 x 250cm. Bruschettini

Ottoman Sultans, e.g.:(a) Shahquli,

81 Rudolf Meyer Riefstahl, ‘Ori-

72, 1993/1994, p.92.

Foundation, Genoa. Reputedly

the Safavid governor of Erevan,

ental Carpets in American Collec-

86 The ‘small silk Kashans’:

from the estate of a European

was sent at the head of an emb-

tions: Part One. Three Silk Rugs in

(1) The Bode four-lobed medallion

royal family; Bacri Frères, Paris;

assy to congratulate Sultan Selim

the Altman Collection’, in Art in

rug. 16th century. 180 x 230cm.

Herrmann, Munich; Wher Collec-

II on his accession in 1567. His

America, IV, 1916, pp.147ff.

Calouste Gulbenkian Museum,

tion. See Herrmann 1987, pp.48,

arrival is depicted in a painting by

82 Erdmann 1961, republished as

Lisbon, no.T.100. Formerly Wilhelm

49, 105; HALI 53, 1990, p.115;

NakkaÎ Osman. The Hungarian

‘The Small Silk Carpets of Kashan’,

von Bode, Berlin; Schlossmuseum,

Allan et al., p.270, no.12.1.

ambassador was present, and he

Erdmann 1970, pp.61-65.

Berlin; Frederick Sarre, Berlin;

(8) The Wittelsbach banded four-

saw “silk carpets from Hamadan

83 Herrmann 1987.

Calouste Gulbenkian Collection,

lobed medallion rug. 156 x 266cm.

and Dargazan... twenty large silk

84 Walker 1994.

Paris (acquired in Amsterdam in

Bayerisches Nationalmuseum,

carpets and many small in which

85 The ‘large silk Kashans’:

1936). A. von Scala et al. 1892,

Munich, no.1611. Formerly House

birds, animals and flowers were

(1) The Vienna silk hunting carpet.

vol.I, pl.XII; Erdmann 1932; Pope

of Wittelsbach Collection, Munich.

worked in gold… the train consis-

331 x 687cm. MAK, Vienna,

1938-39, pl.1200; Erdmann 1970,

Pope 1938-39, pl.1202; Erdmann

ted of 700 men and 19,000 pack

no.T8336. Formerly Habsburg

p.65, fig.68 (detail); Calouste Gul-

1970, p.61, fig.61; Pinder-Wilson

animals, bearing all sorts of luxur-

Collection, Austria; reportedly gift

benkian Museum 1985, pl.II; Herr-

et al., p.100, no.62; Herrmann

ies, including woollen carpets so

of Tsar Peter the Great, Russia, to

mann 1987, pp.49, 51, 105; HALI

1987, pp.49, 51, 105; HALI 124,

heavy that seven men could scar-

Leopold I of Austria, 1698. Von

109, 2000, p.149; Steven Cohen,

2002, p.47.

cely carry them”; (b) a number of

Scala et al. 1891, pp.256-7, no.320

“Safavid and Mughal Carpets in

(9) The Coimbra banded four-lobed

carpets were given as an inaugural

(detail); Sarre & Trenkwald, vol.I,

the Gulbenkian Museum, Lisbon,

medallion rug. 175 x 277cm. Museu

gift by Shah Tahmasp to the Süley-

pls.1-5; Kurt Erdmann, ‘Tappeti

HALI 114, 2001, p.84, no.9; Allan

Nacional de Machado de Castro,

maniye Mosque in Istanbul, as

Persani’, in Dedalo, XII, 1932,

et al., pp.292-3, no.12.17; Pereira

Coimbra, no.T 744. See Herrmann

recorded in a letter of 1556 from

pp.722-4; Pope 1938-39, pls.1191-

& Hallett, pp.86-7, no.23.

1987, pp.49, 50, 105; Jessica Hal-

the Shah (see Pope 1938-39,

2; Ian Bennett, ‘The Emperor’s Old

(2) The Altman four-lobed medal-

lett & Teresa Pacheco Pereira, ‘The

vol.III, pp.2334-5).

Carpets’, HALI 31, 1986, p.12;

lion rug. 178 x 241cm. Metropoli-

Queen’s List’, HALI 152, 2007, p.77;

80 The Rothschild medallion

Völker, pp.198-203, no.70 (with

tan Museum of Art, New York;

Pereira & Hallett, pp.86, 178, no.22.

and cartouches rug 4. Kashan,

structure analysis); Thomas J.

no.14.40.715. Formerly Benjamin

(10) The Taylor banded four-lobed

33 HALI ISSUE 155

PERSIAN CLASSICAL CARPETS medallion rug. 163 x 254cm.

pl.IX; HALI 128, 2003, p.45; HALI

(6) The Liberec hunting carpet

95 Two silk strap-work carpets:

Metropolitan Museum of Art, New

130, 2003, p.105 (detail); Berdj

fragment. 82 x 288cm, section

(1) The Shah Abbas I pair of silk

York, no.14.40.724. Formerly J.E.

Achdjian & Dikran Kouymjian, ‘The

of central field with parts of the

strap-work carpets with borders

Taylor Collection, New York; Ben-

Legacy of the Indjoudjians’, HALI

narrow guard border attached

on three sides only, made to lie

jamin Altman Collection, New York.

142, 2005, p.69; HALI 143, 2005,

incorrectly on three sides. North

next to each other. Each 478 x

See Sarre & Trenkwald, vol.II,

p.33, Erratum (detail); Jon Thom-

Bohemia Museum, Liberec, Czech

1,403cm. Shrine of Imam Ali at

pl.42; Dimand & Mailey, pp.57,

pson, Milestones in the History of

Republic, no.T3684.85. Pope

al-Najaf. Gift of Shah Abbas I.

102, no.15, fig.81; Walker 1994,

Carpets, Milan 2006, pp.186-90,

1938-39, pl.1176.

Mehmet Aga-OÌlu, Safawid Rugs

pp.106, 120, pl.3.

pl.17 (with structure analysis).

(7) The French & Co. hunting

and Textiles, The Collection of the

(11) The Morgan-Widener eight-

Cut horizontally, central section

carpet fragment. 38 x 122cm,

Shrine of Imam ‘Ali at Al-Najaf,

lobed medallion rug. 173 x 240cm.

removed, bottom part joined to

three border strips and three

New York 1941, p.30, pl.1.

National Gallery of Art, Washing-

the top across centre, outer guard

corner sections joined together.

(2) The Aberconway silk strap-work

ton DC, no.1942.9.478. Formerly

border missing. In December 1997

Formerly French & Co., New York.

carpet. 252 x 137cm, section from

J. Pierpont Morgan Collection;

a border fragment acquired at

Pope 1926, no.11 (cited).

the field with two side borders.

French & Co., New York; Joseph

Sotheby’s New York (16 October

(8) The David hunting carpet frag-

Victoria & Albert Museum, London.

Widener Collection, Philadelphia,

1996, lot 150; 41 x 166cm) was

ment. 27 x 57.5cm. David Collec-

Pope 1938-39, pl.1252; HALI 41,

1924. Pope 1938-39, pl.1197; Erd-

reattached.

tion, Copenhagen, no.5/1973.

1988, p.43.

mann 1970, p.64, fig.67; Robert

(4) The Constantinople hunting

Kjeld von Folsach, Islamic Art. The

96 Pope 1938-39, pl.1253; HALI

Wilson Torchia, ‘Widener’s Gift’,

carpet. 135 x 181cm, corner

David Collection, Copenhagen

36, 1987, pp.7, 11; Achdjian &

HALI 92, 1997, pp.88-97, fig.1.

section of border and field. MAK,

1990, p.247, no.416.

Kouymjian, fig.5.

(12) The Rothschild medallion and

Vienna, no.Or 311. Formerly Con-

(9) The Yerkes hunting carpet

97 Pope 1938-39, pl.1251.

cartouches rug 4. See note 80.

stantinople art market, 1891; KK

fragment. 82 x 193cm, section

98 Ibid, pls.1258-60.

(13-16) Silk animal rugs. See note

Handels-Museum, Vienna. See

of central field with outer minor

99 Ian Bennett, ‘Splendours in the

45 above.

Martin 1908, p.47, fig.122; Sarre &

border added. Formerly Yerkes

City of Silk, part 3: The Safavid

(17) The Unger silk border frag-

Trenkwald, vol.I, pl.10; Gans-

Collection; Captain J.R. De Lamar.

Masterpieces’, HALI 34, 1987,

ments. (a) 29 x 96cm. Where-

Ruedin 1978, pp.92-3 (with struc-

Mumford 1910, pl. III.

pp.42-50, pl.XVIII.

abouts unknown. Formerly Unger

ture analysis); Völker, pp.232-3,

(10) The Musée des Arts Décor-

100 The Shah Suleiman hunting

Collection, Mexico City; Galerie

no.82 (with structure analysis).

atifs fragment. 75 x 40cm, border

carpet with medallion 5. Tabriz,

Sailer, Salzburg. (b) 12 x 26cm.

Smaller fragments of the

section on a green ground. Pinder

northwest Iran, early 17th century.

Siesta Collection, Milan. Formerly

same group:

Wilson 1957, pl.81b.

260 x 584cm, wool pile on a cotton

Unger Collection, Mexico City.

(1) The Turin hunting carpet frag-

89 23 x 40cm, section, silk pile on

foundation. MIAQ, no.CA16, acq-

Unpublished.

ment. 110 x 60cm, section of field

a silk foundation. Wher Collection.

uired in September 1999 through

87 Four have a four-lobed medal-

and border. Museo Civico, Turin,

Formerly Unger Collection, Mexico

The Textile Gallery, London. For-

lion (Bode, Altman, Goupil and

no.2910. Taher Sabahi, ‘Un Safa-

City. Unpublished.

merly Shah Suleiman, 1688; Doge

Khalili); three have an eight-lobed

vide a Torino, Un frammento del

90 119 x 167cm, silk pile on a

Francesco Morosini, Venice; Estate

medallion (Amsterdam, Johnston

XVI secolo dalle collezioni del

silk foundation. Private collection,

of Countess Lauredana Gatterburg-

and Bacri); three have a medallion

Museo Civico’, Ghereh, 1/1, 1993,

Lecco. Unpublished.

Morosini (d.1884); Baroness de

with appendages framed by a band

pp.30-1.

91 Ivory ground and lobed medal-

Blanc, Rome; Ahuan Ltd., London;

(Wittelsbach, Coimbra and Taylor);

(2) The Myers hunting carpet frag-

lion silk pile rug with cartouche

The Textile Gallery, London; Luis

two have a medallion with appen-

ment. Major and inner border only.

border. Kashan (?), 16th century.

Virata, Manila. Published: Soth-

dages surrounded by groups of

Textile Museum, Washington DC,

193 x 228cm. Iran Bastan Museum,

eby’s, London, 12 October 1982,

cartouches (Morgan-Widener and

no.R.33.4.8, George Hewitt Myers

Tehran. Pope 1938-39, pl.1156.

lot 47 (unsold); HALI 5/2, 1982,

Rothschild); and four have animals

Collection. Ellis 1965, p.45, fig.5,

92 The Stieglitz cartouche and star

p.196; The Unity of Islamic Art,

in a landscape and no central motif

and p.55 note 12 (with structure

medallion carpet. 167 x 231cm,

Riyadh 1985, p.181, no.158; Fran-

(Princezza, Ludlow, Aynard and

analysis).

silk pile with metal thread. State

ses 1999, p.63, fig.34. Exhibited:

Hakki Bey-Peytel).

(3) The Hopf hunting carpet frag-

Hermitage Museum, St Peters-

‘The Unity of Islamic Art’, at The

88 Hunting carpets with strap-

ment. 38 x 124cm, section of main

burg, no.(V)T-1045. Formerly

King Faisal Center for Research

work borders, central Iran,

border. Marshall & Marilyn R. Wolf

Stieglitz Museum, St Petersburg.

and Islamic Studies, Riyadh, 1985.

16th century:

Collection, New York. Formerly

HALI 135, 2004, p.99; HALI 153,

Structure analysis: Warp – cotton,

(1) The Vienna hunting carpet.

private collection, Europe. Hopf,

2007, p.37.

ivory. Weft – wool, red, taut, first

308 x 732cm, reduced in length.

p.23, pl.31; Sotheby’s, New York,

93 The Homberg trees, flowers

and third shoots; cotton, ivory,

MAK, Vienna, no.T 8376/1922 KB.

20 September 2001, lot 64 (with

and birds rug. 16th century. 87 x

wavy, second shoot. Pile – wool,

Sarre & Trenkwald, vol.I, pl.9 (top

structure analysis); HALI 120,

78cm. Private collection, New

asymmetric knots open on the

half); Völker, pp.230-31, no.81

2002, p.130.

York, on loan to the Metropolitan

left, 2418 per dm2. Colours – 13

(with structure analysis).

(4) The James hunting carpet frag-

Museum of Art, New York. For-

(ivory, two pinks, yellow, blue-

(2) The London hunting carpet.

ment. 122.5 x 222cm, section of

merly Octave Homberg Collection,

green, three blues, green, red,

Victoria & Albert Museum, London,

central field. Edward James Foun-

Paris, acquired in Constantinople,

orange, black, brown). Selvedges

no.601-1894. A.F. Kendrick, Guide

dation, Sussex. Melikian-Chirvani,

reportedly decorating the tomb

– wool selvedge over 2 bundles of

to the Collection of Carpets, Victoria

pp.244-5, no.52; Tilden, p.117.

of a sultan and previously from a

3 warps with additional weft

and Albert Museum, London 1920,

(5) The Aynard hunting carpet

mosque in Konya; John D. Rocke-

thread, red. Ends – 8cm cotton

no.4, pl.IV (detail). Cut horizontally,

fragment. 44 x 66cm, section of

feller III, New York. Galerie George

kilim ends, ivory.

central section removed, bottom

field. Musée des Arts Décoratifs,

Petit, Paris, 3 to 5 June 1931, lot

101 The Marquand Kashan carpet.

part joined to top.

Paris, no.19417. Formerly Joseph

122, pl.LIII and frontispiece; Maur-

central Iran, 16th century. 182 x

(3) The Bacri Hunting Carpet. 275

Aynard Collection, Paris. Musée

ice Dimand, A Guide to an Exhibit-

357cm, wool, cotton and silk pile

x 384cm, reduced in length. Moshe

du Louvre, Arabesques et Jardins

ion of Oriental Rugs and Textiles,

on a silk foundation, with metal

Tabibnia, Milan. Formerly Bacri

de Paradis, Paris 1989, p.283,

New York 1935, no.23 (as ‘velvet’).

brocading. Philadelphia Museum

Frères, Paris, The Textile Gallery,

no.217; Rémi Labrousse, Purs

The narrow border stripe is typical

of Art, no.43-28-1. Formerly reput-

London; Wher Collection. See

Décors, Paris 2007, p.337, no.153;

of Tabriz carpets.

edly Sultan Abdulaziz, Turkey, 1876;

Franses & Bennett 1986, pp.20-4,

Tilden, p.117.

94 See note 124 below.

Henry G. Marquand, New York;

HALI ISSUE 155 34

PERSIAN CLASSICAL CARPETS Vitall Benguiat, New York, 1903-32;

analysis).

p.49 (cited) and p.55, note 20b.

border. Rijksmuseum, Amsterdam,

French & Co., New York; Mrs John

110 Hatvany, see note 55, no.6.

(14) Whereabouts unknown. For-

no.RBK.17275. Formerly Dr Albert

D. McIlhenny, Georgetown. Ellis

111 Some Esfahan carpets with

merly Freiherr Tucher von Simmels-

Figdor, Vienna; Bernheimer, Mun-

1988, pp.110-15.

arabesque, palmette and cloud-

dorf, Germany. Sarre 1908, pl.6.

ich; Dr F. Mannheimer. Von Scala

102 The Schutz medallion hunting

band field designs and spade,

112 The Rockefeller animal design

et al. 1891, no.386; Artaria & Cas-

rug. Possibly Esfahan, circa 1600.

octafoil and cartouche borders:

pictorial carpet. Esfahan, early 17th

sirer, Vienna, 11-13 June 1930,

221 x 160cm. Musée Historique

(1) 154 x 218cm. Corcoran Gallery

century. 150 x 240cm, incomplete,

vol.I, pl.XLVIII, lot 200; Bode/ Kühnel

des Tissus, Lyon, no.23.921. Form-

of Art, Washington DC, no.26.287.

wool pile on a silk and cotton foun-

1955, p.146, fig.113, 1958 and

erly M.F. Schutz, Paris, 1883. Pope

Formerly Senator William A. Clark.

dation. Carpet Museum, Tehran.

1970, p.155, fig.113.

1938-39, pl.1150; Bennett 1987,

Valentiner, pp.50-1, no.42.

Formerly John D. Rockefeller.

(4) 92 x 67cm, incomplete, salmon

part 2, p.42, pl.III.

(2a) Textile Museum, Washington

Pope 1938-39, pls.1182-3; Gans-

ground with green border. MAK,

103 The Widener Medallion carpet.

DC, no.R.33.4.7. Section of border

Ruedin 1978, p.89.

Vienna, no.0304/1892/NH nr. 13934.

National Gallery of Art,

and field. Ellis 1965, pp.48-9, fig.9.

113 The Fletcher tree design rug.

Sarre & Trenkwald, vol.I, pl.30

Washington DC. no.1942.9.477.

(2b) 86 x 109cm. Wher Collection.

Esfahan, early 17th century. 156 x

(with structure analysis); Spuhler

229 x 427cm. Formerly Joseph

Formerly Schorscher Collection,

208cm, wool pile on a silk and

1968, p.180, no.113 (cited): Völker,

Widener. Pope 1938-39, pl.1148;

Toronto; The Textile Gallery, Lon-

cotton foundation. Metropolitan

pp.212-13, no.75 (with structure

Gans-Ruedin 1978, pp.56-7;

don. Cselenyi 1972, no.8; Soth-

Museum of Art, New York,

analysis).

Torchia, p.92, fig 4.

eby’s, New York, 3-5 February

no.17.120.142. Formerly Mr and

(5) 87 x 139cm, incomplete. Mus-

104 Ducks appear in the middle of

1977, lot 301; Lefevre, London, 7

Mrs Isaac Fletcher, New York.

eum of Applied Art, Budapest,

carpets from other weaving cen-

October 1977, lot 2.

Dimand and Mailey, p.80, fig.110,

no.10.669. Karoly Layer et al., Régi

tres: e.g., an unusual small silk rug

(3) 278 x 367cm, reduced in width

p.111, no.40.

Perzsa Szönyegek, Budapest

that has features of both Kashan

and length. MAK, Vienna, no.Or.315.

114 The Rothschild palmette and

1936, p.23, no.35.

and Esfahan rugs in the Iran Bastan

Sarre & Trenkwald, vol.I, pl.16;

arabesque ‘Polonaise’ rug 6.

(6) 69 x 185cm, incomplete. Lwow.

Museum, Tehran (Gans-Ruedin

Völker, pp.236-7, no.84.

Esfahan, central Iran, circa 1600.

Sztuka Perska i jej wpywy, Warsaw

1978, pp.54-5).

(4) Musée des Arts Décoratifs,

143 x 215cm, silk pile on a cotton

1935, p.48, no.11, pl.2; Spuhler

105 The Seley medallion, cartouche

Paris, no.5484. Ellis 1965, p.49

and silk foundation with silver bro-

1968, p.180, no.46 (cited).

and pendants carpet. Esfahan,

(cited) and p.55, note 20d.

cading. MIAQ, no.CA03, acquired

120 See note 51 above, no.1.

early 17th century. 730 x 300cm.

(5) 183 x 348cm. Whereabouts

in 1997 through The Textile Gallery,

121 See note 86 above, no.17.

Metropolitan Museum of Art, New

unknown. Formerly Charles T.

London. Formerly Baron Alphonse

122 Museu Nacional de Azulejo,

York. Formerly Vitall and Louis

Yerkes, New York; S.M. Milliken.

de Rothschild; Baron Nathaniel de

Lisbon. Formerly Convento da

Benguiat, New York; Mr & Mrs

Mumford, pl.XI; American Art

Rothschild; Wildenstein Collection,

Madre de Deus, Lisbon. Pereira &

Louis E. Seley, New York. Ernst

Association, lot 209.

Paris; Akram Ojjeh, S.S. France;

Hallett, pp.84-5, nos.20, 21; HALI

J. Grube, The World of Islam,

(6) 107 x 119cm, section of border

Wher Collection. Apollo, CX/08,

154, 2007, p.134, no.3.

London 1966, p.150, fig.90.

with field. Metropolitan Museum

June 1979, p.236; Sotheby’s,

123 Pereira & Hallett, p.40.

106 Some Tabriz carpets with

of Art, New York. Formerly Joseph

Monaco, 25-26 June 1979, lot 85;

124 Three early ‘Polonaise’ rugs:

spade and octafoil field designs:

V. McMullan, New York. McMullan,

HALI II/3, 1979, p.255. Exhibited

(1) The Rainey Rogers ‘Polonaise’

(1) 294 x 746cm. MAK, Vienna,

pp.66-7, pl.13.

at The Victoria & Albert Museum,

rug. 173 x 228cm. Formerly Mrs

no.T.10211. Formerly Beghian,

(7a) Textile Museum, Washington

London, 1980.

Rainey Rogers, New York; Hagop

London. Völker, pp.256-7, no.90.

DC no.R.33.4.12. Formerly Imre

115 Welch, p.18.

Kevorkian, New York, no. 42; Doris

(2) 302 x 742cm. Eberhart Herr-

Schwaiger; George Hewitt Myers,

116 Spuhler 1968.

Duke, New Jersey. The Art News,

mann, Emmetten. Formerly Beg-

Washington DC. Ellis 1965, p.49,

117 Dimand & Mailey, pp.61, 103,

New York, 14 June 1930 (title page);

hian, London; Vojtech Blau, New

fig.13.

fig.84, no.17.

New York, Metropolitan Museum

York. HALI 5/2, 1982, p.196, fig.3

(7b) 80 x 317.5cm, two side bor-

118 Anki Dahlin, ‘Count Wrangel’s

of Art, Loan Exhibition of Persian

(detail); HALI 61, 1992, pp.66-7.

ders sewn together. Whereabouts

Legacy, Oriental Carpets at Skok-

Rugs of the so-called Polish Type,

(3) 150 x 460cm, top left corner.

unknown. Pope 1938-39, pl.1184.

loster Slott’, HALI 55, 1991, p.121.

New York, 1930, no.15, pl.1; Wil-

Kunstmuseum, Düsseldorf,

(8) Victoria & Albert Museum, Lon-

119 Some Esfahan ‘Polonaise’

liam H, McCleary, ‘Polish Rugs

no.12446/7. Formerly Bock Collec-

don, no.T.131-1926. Border section

rugs with the palmette and

from Persia’, The Antiquarian, XV,

tion, Aachen. Sarre & Trenkwald,

with tiny field remnant.

arabesque design:

1930, p. 62; Pope 1938-39, pl.1261;

vol.II, pl.14; Erdmann 1950, no.

(9) 152 x 224cm. Sheikh Nasser

(1a/b). 144 x 222cm and 142 x

Parke-Bernet Galleries, New York,

100, fig. 28; Meister & Azadi,

al-Sabah, Kuwait. On loan to the

215cm. Skokloster Castle, Lake

18-20 November 1943, lot 407;

pp.24-5, no. 5.

Kuwait National Museum. Lefevre,

Mälaren, Sweden, acquired in

Chicago 1947, no.13; Spuhler 1968,

(4) 182 x 193cm, central section.

London, 7 October 1977, lot 3.

1847. Martin 1908, p.63, pl.IX;

pp.214-215, no. 141; Sotheby’s,

Formerly Wher Collection. Chris-

(10) 148 x 208cm. Keir Collection,

Spuhler 1968, p.210, nos.130, 131

New York, 8 December 1990, lot

tie’s, London, 3 May 2001, lot 74.

Ham, Surrey. Sotheby’s, London, 8

(cited); Dahlin, p.121-3, fig.8 and

54; Christie’s, New York, 3 June

(5) 272 x 609cm. Private collect-

December 1967, lot 23; Friedrich

p.136 notes 16 and 17.

2008.

ion, Genoa. Formerly Bernheimer,

Spuhler, Islamic Carpets and

(2) 150 x 280cm, reduced in length

(2) The Liechtenstein ‘Polonaise’

Munich, no.55938. Christie’s, Lon-

Textiles in the Keir Collection,

and width, patched and pieced,

rug. 139 x 210cm. Vaduz, Liech-

don, 14 February 1996, lot 101.

London 1978, pp.91, 99, no.46.

possibly composed from a pair of

tenstein. Prince Johann II von

107 The Baron and Robinson

(11) 233 x 500cm. Rijksmuseum,

rugs. Musée Historiques des

Liechenstein, Vaduz, since 1893.

carpets, see note 14 above.

Amsterdam, no.17270. Formerly

Tissus, Lyon, no.25.136. Acquired

Published: Vienna 1892, pl.V, fig.6;

108 Franchetti, see note 122.

N.N. Collection, Amsterdam. P.

by the Musée d’Archéologie de

Bode 1902, fig.33; Martin 1908,

109. The Clam-Gallas spade and

Otten, Tentoonstelling Oostersche

Lyon in 1880 and given in exch-

fig.153; Sarre & Martin 1912, pl.56;

quatrefoil carpet. Esfahan, 17th

Tapijten, Delft 1948, pl.IX, no.11.

ange in 1890. Bennett 1987, Part

Henry-René D’Allemagne, Du

century. 273 x 540cm. MAK,

(12) 121 x 186cm, reduced in width.

3, pp.46, 48, 104, note 68 (with

Khorassan au Pays des Backh-

Vienna, no.T.9026. Formerly Count

Whereabouts unknown. Formerly

structure analysis); Dahlin, p.121

tiaris, Trois Mois de Voyage en

Clam-Gallas. Sarre & Trenkwald,

Private collection, south Germany.

and p.136, note 8 (cited); Spuhler

Perse, Paris 1911, vol.III, plate on

vol.II, pl.17; Pope 1938-39, pl.1143;

Erdmann 1950, fig.23, no.73.

1968, p.180, no.47 (cited).

p.18; Bode/Kühnel 1914, fig.41;

Gans-Ruedin 1978, pp.46-7; Völker,

(13) Corcoran Gallery of Art, Wash-

(3) 165 x 107cm, pieced and reas-

Bode/Kühnel 1922, fig.44; Heinrich

pp.238-41, no.85 (with structure

ington DC, no.26.265. Ellis 1965,

sembled, salmon ground with green

Glück & Ernst Diez, Die Kunst des

35 HALI ISSUE 155

PERSIAN CLASSICAL CARPETS Islam, Propyläen Kunstgeschichte,

HALI 85, 1996 (cover).

HALI 65, 1992, p.111; Spuhler

vol.5, Berlin 1925, p.392; Julius

133 Thompson rightly shows that

1998, pp.84-97, pl.16.

Drouot, 39, 2 November 1990,

Orendi, Das Gesamtwissen über

the tulip design is part of Safavid

138 Toyotomi Hideyoshi’s surcoat.

p.XX; Boisgirard, Paris, L’Art de

antike und neue Teppiche des

as well as Ottoman art. Further

Kodai-ji, Kyoto. Spuhler 1998, p.87,

l’Islam, 26 November 1990, lot 51.

Orients, 2 vols, Vienna 1930,

evidence is offered by an unpub-

fig.1. HALI 76, 1994, p.108.

(5) The Los Angeles flowering

fig.815; Pope 1938-39, pl.1242;

lished Safavid kilim covered with

139 Beattie 1972, p.35, note 6.

vase tapestry. Kerman (?) 73 x

Phyllis Ackerman, Guide to the

tulips signed in Persian ‘al-Tabrizi’

140 Buccleuch ‘Sanguszko’: Ben-

198cm, tapestry weave in silk.

Exhibition of Persian Art, New York

that was once in the Khalili Collec-

nett & Franses 1992, pp.95-107.

Khalili Collection. Formerly private

1940, p.50, no.17; Ernst Diez, Iran-

tion. However, a particular group

Delaittre-Bellanger ‘Sanguszko’,

collection, Los Angeles. Christie’s,

ische Kunst, Vienna 1944, fig.116;

of these tapestries stands out as

Lyon: Bennett 1987, Part 2, p.49.

New York, 27 May 1987, lot 70.

Ernst Kühnel, Die Arabesque,

different in colours and style to

141 Beattie 1976

144 Dr Koelz was a zoologist, not

Wiesbaden 1949, and The

other Safavid tapestries: Thomp-

142 The Koelz Legend of Layla

the background one would expect

Arabesque, Meaning and Trans-

son lists the examples in the Tex-

and Majnun silk tapestry 8.

for a collector of oriental art, but it

formation of an Ornament, Graz

tile Museum, Washington DC, and

Central Iran, late 16th or early 17th

was this that first took him to Asia.

1976, fig.17; Albert Achdjian, Le

in the Shrine at al-Najaf; to these

century. 129 x 179cm, tapestry

In 1939 he began a seven-year

Tapis, Un Art Fondamental, The

should be added a fragment simi-

weave in silk. MIAQ, no.CA01.

exploration of Persia, followed by

Rug, A Fundamental Art, Paris

lar to the Washington tapestry in

Christie’s, New York, 7 April 1990,

trips to India, Nepal and Assam.

1949, p.233 ; Bode/ Kühnel 1955,

the Saud al-Thani collection, Lon-

lot 149 (detail on front cover);

He held an appointment with the

fig.109.

don, and a prayer niche example

HALI 51, 1990, p.187. Structure

University of Michigan for 74 years

(3) The Czartoryski ‘Polonaise’ rug.

in the Topkapı Palace in Istanbul

analysis: Warp – silk, white, S2Z,

and in 1956 was awarded the

162 x 233cm. Czartoryski Museum,

(Hülya Tezcan & Sumiyo Okumura,

224 per dm, depressed. Weft –

Meyer Memorial Award for out-

Cracow, no.I.673. Published: E.

Textile Furnishings from the Top-

silk, S3Z, 1 yarn used together,

standing contributions to the

Lièvre, Les Collections Celèbres

kapı Palace Museum, 2007, no. 3).

224-240 wefts per dm. Colours –

world of agriculture.

d’Oeuvres d’Art, Paris 1866, pl.60;

134 Spuhler 1968, pp.235-54, lists

18 (two whites, beige, dark beige,

145. Published in Aga-OÌlu. The

Alois Riegl, Altorientalische Tep-

38 examples.

grey, olive, brown, red-brown, very

Shrine of Imam ‘Ali is one of the

piche, Leipzig 1891, p.194; Stefan

135 Tadeusz Mankowski, ‘Note on

dark brown, yellow, three greens,

holiest of Shi‘ite shrines. “In the

S. Komornicki, Muzeum Ksiazat

the Cost of Kashan Carpets at the

light blue, medium blue, navy,

year 1508, the country was occu-

Czartoryskich w Krakowie, Cracow

Beginning of the 17th Century’,

brown-red, orange. Slit-tapestry

pied by Shah Isma‘il, whose first

1929, fig.177; Pope 1938-39,

Bulletin of American Institute for

on depressed warp, not totally

act was a pilgimage to the Shrine.

pl.1243; Spuhler 1968, p.175,

Persian Art and Archaeology, 1, 4,

weft-faced, some warp showing.

Twenty-three years later, Iraq was

no.30; Christie’s, London, 11

1935, pp.152-3; Tadeusz Mankow-

Interlaced outlining. Selvedges –

added to the domain of the Turks

October 1990, lot 34 (withdrawn).

ski, ‘Some Documents from Polish

plain interlacing, 12 warps faced

…Suleiman the Magnificent visited

125 Marco Spallanzani, Oriental

Sources Relating to Carpet Making

with orange weft, 12 warps faced

the shrine … in 1534. In 1623,

Rugs in Renaissance Florence,

in the Time of Shah Abbas I’, in

with brown. Ends – top, missing

Baghdad, as well as al-Najaf and

Florence 2007, records in the

Pope 1938-39, pp.2431-6; Thom-

apart from traces of brown stripe,

Karbala was temporarily occupied

Medici archives: (1) p.141, doc.137,

pson 2006.

raggedy edge; bottom, missing

by Shah ‘Abbas I, but his successor,

1549: “Payment by Cosimo I de’

136 The Franchetti hunting

apart from small bits of brown

Shah Safi I, was forced by the

Medici for a rug d’oro s seta e

design silk tapestry 7. Central Iran,

stripe, raggedy edge.

Turks to abandon the cities in

lana, arme, di variati colori, lavorato

second half 16th century. 151 x

143 Pictorial or naturalistic Safavid

1638. From that date until 1919,

in Azzermia [a region of Iran],

219cm, weft-faced tapestry weave

silk tapestries:

Iraq was under Turkish rule.” (p.6)

mezzano Bartolomeo Sredoni.”

in silk and silver wrapped silk on a

(1) The Moore pictorial tapestry.

146 See note 95 above.

(2) p.142, doc.141, 1553: in the

silk foundation. MIAQ, no.CA02,

Kashan (?), 140 x 83cm, tapestry

147 Aga-OÌlu shows the close

Medici Guardaroba in Palazzo

Acquired through The Textile

weave in silk. Yale University Art

similarity in design and style

Vecchio, seat of the court of

Gallery, London. Formerly Baron

Gallery, New Haven. Formerly

between the smaller silk carpet in

Cosimo I and Eleonora di Toledo,

Giorgio Franchetti, Rome (private

Mrs William H. Moore Collection,

al-Najaf and a silk carpet in St

“suno tappet vellutato turchesco

communication with Jack Franses,

Chicago. Pope 1938-39, pp.2151-2,

Mark’s Treasury in Venice (no.26.

di seta e oro, fatto con varij animali,

who met the Baron and his son in

2404, pl.1092.

Pope 1938-39, pl.1244; Aga-OÌlu,

di br.4 lungo e largo br. 22⁄3rds.”

Rome); acquired by The Textile Gal-

(2) The Legend of Layla and Majnun

fig.7) that was given by Abbas to

126 See note 133 above.

lery, London for the Wher Collec-

Kashan pictorial tapestry.

the Doge Mariano Grimini in 1603,

127 Dimand & Mailey, p.60; Fried-

tion. Kurt Erdmann, ‘Ein Persischer

(3) The Czartoryski Kashan pictorial

as well as to other wool pile

rich Spuhler et al., Denmark’s Cor-

Wirkteppich der Safawidenzeit’,

tapestry. 212 x 275cm, tapestry

carpets such as one in the Shrine

onation Carpets, Copenhagen, 1987;

Pantheon, XXI, 1938, p.66;

weave in silk with metal thread.

of Imam Reza in Mashad (Pope

Mogens Bencard, ‘Denmark’s Cor-

Gertrude Robinson, ‘An Unknown

Czartoryski Museum, Cracow.

1938-39, pl.1185; Aga-OÌlu, fig.8;

onation Carpets, HALI 32, 1986,

Sixteenth-Century Persian Carpet’,

Formerly Princess Maria Ludwika

Gans-Ruedin 1978, p.83).

pp.18-21.

Burlington Magazine, LXXII, 1938,

Czartoryska, until 1941; seized by

148 The Emperor Peter the Great

128 Andrea Maréchal, ‘Anatolian

pp.103-5; Sotheby’s, London, 19

German troops; the Hagop Kevork-

hunting carpets:

Kilims: The Riddle of Çatal Hüyük’,

November 1976, lot 45; Weltkunst,

ian Foundation, New York; Soth-

(1) 350 x 742cm, wool pile on a

HALI 26, 1985, pp.6-11.

November 1976, p.2073; Bennett

eby’s, London, 1970; Kay Robert-

cotton and silk foundation, with silk

129 S.I. Rudenko, Frozen Tombs of

1978, p.86.

son, Los Angeles; Los Angeles

fringes. MAK, Vienna, no.T.8334.

Siberia–the Pazyryk Burials of Iron

137 The Figdor animal design silk

County Museum of Art; on 6

Reputtedly a gift from Tsar Peter

Age Horsemen, London 1970,

tapestry. Central Iran, second half

March 2002 returned to Prince

the Great of Russia to Emperor

figs.177a-c.

16th century.125 x 192cm. Miho

Adam Czartoryski on behalf of the

Leopold I of Austria (1658-1705),

130 Krishna Riboud, ‘China’s Buried

Museum, Shigaraki-no-Sato, Shiga,

Princes Czartoryski Foundation

1698; Habsburg Imperial Collec-

Past’, HALI 34, 1987, pp.32-41.

Japan. Formerly Dr Albert Figdor,

Museum, Cracow. Pope 1938-39,

tion. Sarre & Trenkwald, vol.I,

131 James C.Y. Wyatt & Anne E.

Vienna; Thyssen-Bornemisza Col-

pls.1090-91.

pls.6-8; Bode/Kühnel, 1958/1970,

Wardwell, When Silk Was Gold,

lection, Lugano. See Sarre 1910,

(4) Tapestry with cypress trees,

fig.84; Gans-Ruedin 1978, pp.65-6;

Central Asian and Chinese Textiles,

p.478f, fig.15; Bode/Kühnel 1922,

birds and flowering shrubs.

Völker, pp.224-9, no.80.

New York 1997.

p.27, fig.47; Pope 1938-39, p.2404,

Kerman (?) 65 x 116cm, tapestry

(2) 330 x 751cm. Metropolitan

132 Thompson 2006, pp.202-9;

pl.1268A; Beattie 1972, p.31, pl.III;

weave in silk. Whereabouts

Museum of Art, New York,

unknown. La Gazette de l’Hôtel

HALI ISSUE 155 36

PERSIAN CLASSICAL CARPETS no.43.121.1. Reputedly gift of

27, 29, 33-40, 44, 45. No.28 has

Geneva; Colnaghi, London; The

background. Other examples are

Emperor Peter the Great of Russia

been excluded from this list as it

Textile Gallery, London; Cittone,

known on yellow, ivory and blue

to Emperor Leopold I of Austria

may be a rug with an ‘Esfahan’

Milan; Roberto Calvi Collection,

grounds (Beattie 1976, p.79, no.54).

(1658-1705), 1698; Habsburg

design but from another location.

Milan and London. Christie’s,

More commonly found are Kerman

Imperial collection; Mrs Edith

156. Hallett & Pereira Pereira &

London, 24 April 1997, lot 530;

‘shrub’ carpets, with individual

Rockefeller McCormick, New York.

Hallet, pp.79-83: “receipt book of

HALI 93, 1997, p. 127 (detail).

shrubs placed in a diagonal lattice

Pope 1938-39, pl.1174; Dimand &

the anteroom of Our Lady, the

162 King Edward VII’s palmette

(Beattie 1976, pp.80-3, nos.55-8).

Mailey, pp.140-1, fig.76, p.101,

[Portuguese] Queen [D. Caterina]

design coronation carpet 10.

Almost all the extant examples

no.12; Sabahi, pp.38-9.

…in Xabregas on the 3rd January,

Khorasan, northeast Iran, circa

with this pattern are fragmented;

149 Pope 1938-39, vol.III, p.2361.

1571 [Queen Caterina] received…

1700. 299 x 670cm, wool pile on a

the most spectacular complete

150 The group is quite large.

another carpet with a red field

cotton foundation. Reputedly from

example is the red-ground Lady

Among the best examples are:

with green and beige branches,

a cathedral in Spain; Duveen Bros.,

Dudley shrub lattice carpet (Ben-

(1a) The Madre de Deus tree and

and beige lions and beasts, and

London; Genevieve Garvan Brady

nett 1978, p.78).

animal carpet. Museu Nacional de

other wild animals in blue, and

Collection, New York, 1937; David

164 Section of a palmette and

Arte Antigua, Lisbon. Hallett &

parrots and other birds in diverse

Zorn & Co., Chicago; Mr & Mrs

sickle-leaf carpet, on a blue

Pereira, pp.72-3, figs.1,2; Pereira &

colours; and a green border with

James C. Donnell II Collection;

ground 12. Kerman, second

Hallett, nos.18,19.

beige and white birds [decorated]

Yves Mikaeloff, Paris. American

quarter 17th century. 180 x

(1b) End section. Textile Museum,

with other colours; it has a length

Art Association, New York, 1937,

234cm. Sotheby’s, London, 15

Washington DC.

of seven and eleven-twelfths

lot 2024; Sotheby’s, New York,

October 1997, lot 69. This large

(2) The Robinson-Sangiorgi cloud-

covados and a width of seven-

4 June 1988, lot 205; Christie’s,

field fragment of a sickle-leaf

band and palmette Esfahan carpet.

twelfths covados.”

London, 16 October 1997, lot 100;

design Kerman carpet has portions

285 x 455cm. Bruschettini Collect-

157 Perhaps it actually means that

HALI 96, 1998, p.141. A fragmen-

of the guard border and primary

ion, Genoa. Robinson 1893.

the carpet was discovered in Spain

ted Khorasan carpet probably from

border remaining on the right

151 Metal thread is also discus-

or Portugal.

the late 16th or early 17th century,

hand side. The most spectacular

sed in the context of the Roth-

158 See note 154 above.

once with Mrs Rockefeller McCor-

complete example of this type on

schild ‘Polonaise’ 6.

159 Unknown artist, Portrait of Jean

mick, has a closely related design,

a red ground is the Throne carpet

152 See note 17 (1) above, The

Charles de la Faille, Lord of Rym-

but with the addition of animals

in the Corcoran Gallery of Art,

Pope Pius IX Tabriz hunting carpet.

enam, aged 30. Royal Museum of

(Pope, Survey, 1964 edition, vol.XII,

Washington DC; a complete blue-

On cotton warps, at both ends it

Fine Arts, Brussels. Onno Ydema,

pl.1181a; 1967 edition, pl.1181a).

ground example is in the

has a woven silk fringe, silver-wrap-

Carpets and Their Datings in Neth-

The McCormick Khorasan has a

Gulbenkian Museum, Lisbon

ped in places, tied to the warps

erlandish Paintings, 1540-1700,

very unusual border pattern, sim-

(Beattie 1976, pp.50, no.15, and

some 10cm into the rug.

Woodbridge 1991, p.154, no.343.

ilar to that of the Fenaille Tabriz

p.93, no.70).

153 For an image of one of the

160 Peter Paul Rubens, Holy Family

cloudband and medallion carpet in

165 Section of a vase and

braiding types, see Thompson

with St. Elizabeth, Madonna of

the Musée des Art Décoratifs,

compartment lattice carpet,

2006, p.215, figs.182-3.

the Basket, ca. 1615. Palazzo Pitti,

Paris (see note 13 above).

on a green ground 13. Kerman,

154 ‘The Oriental Carpet in

Florence.

163 Section of a Shrub Carpet,

second quarter 17th century. 59 x

Portugal Carpets and Paintings,

161 The Rothschild ‘in-and-out’

on a red ground 11. Kerman,

51cm. Formerly Yves Mikaeloff,

15th-17th Centuries’, curated by

palmettes carpet 9, Esfahan,

second quarter 17th century. 120

Paris. Christie’s, London, 16 Octo-

Teresa Pacheco Pereira and Jes-

second half 16th century, 216 x

x 183cm. Sotheby’s, London, 15

ber 1997, lot 74. This. Beattie

sica Hallett, Museu Nacional de

478cm, wool pile on a silk and

October 1997, lot 68. The pattern,

informs us of other fragments

Arte Antigua, Lisbon, 31 July-18

cotton foundation. Dyed with lac,

which repeats every fourth row, is

with the same design in more

November 2007.

madder, weld, and indigo. Formerly:

composed of horizontal rows of

than twenty different collections

155 Pereira & Hallet, nos.18, 25,

Edmund de Rothschild Collection,

different shrubs set against a red

(Beattie 1976, pp.74-5, no.49).

37 HALI ISSUE 155