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FINE ANTIQUE ORIENTAL RUGS 41 There are 30 Lots.
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Startpreis / Startingbid
20 000 €Lot: 1
Early Yarkand238 x 121 cm (7' 10" x 4')
East Turkestan, ca. 1800 or before
Condition: good according to age, low pile, scattered small old repairs, selvages rebound
Published: "Antike Orientteppiche aus österreichischem Besitz", TKF, 1986, plate 126
Warp: cotton, weft: wool and cotton, pile: wool
The large reciprocal crenellated border ranks among the most impressive framing solutions in the entire realm of Oriental carpet design. East Turkestani carpets featuring this motif are therefore among the most sought-after pieces. It typically appears on the classical three-medallion rugs. The present example, however, is a rare exception: it displays only a small floral medallion on a swastika grid.
Swastikas within colored squares can also be found in the narrow secondary borders - another clear indication of this composition's close relationship to classical-period Chinese carpets. The oasis towns of East Turkestan, located along various routes of the Silk Road, have always reflected the artistic influences of Chinese, Indian, and Iranian cultures in their textiles.
The characteristic border was named the "cloud-head border" by Hans König in an article published in HALI 174 (pp. 42-51) - a term that should be preserved in his honor. In his article, König refers to Bidder, who interpreted this motif as an archetypal Asian symbol, still seen today on tents and yurts. Similar border designs appear on felts from the Pazyryk tombs, although they lack the reciprocal structure. A simplified version of the motif is also found on several other East Turkestani carpets.
Regarding our piece, Hans König writes on page 49 that it is "even rarer" than the three-medallion rugs and praises the weaver's work, stating that he "found perfect corner solutions - something almost never seen in Khotan carpets."
Another notable feature of this exceptional rug is the so-called "barber-pole" hook motif, which appears at both ends of the border.
Estimate: € 40000 - 6000020 000 € -
Startpreis / Startingbid
6 000 €Lot: 2
Ura Tube Suzani206 x 181 cm (6' 9" x 5' 11")
Uzbekistan, mid 19th century
Condition: very good, minor small repairs, minor signs of use
Silk on cotton
Silk embroideries from Central Asia are among the most joyful and life-affirming textiles of all - and their function as bridal dowry items contributes significantly to this character. The attribution of this piece to the ancient fortress town of Ura Tube, located along key caravan routes, is based on the presence of characteristic strawberry-red blossoms surrounded by soft green leaves.
The borders give the embroidery a clear sense of direction: upward-growing flower stems framed by leaves organize the composition. These are accompanied by a rich variety of differently shaped leaves and blossoms. It is rare to find a Suzani that features such a broad spectrum of beautifully harmonized colors.
While the red and green stems in the border provide structure and stability, the central field unfolds in a lush, almost sensual abundance of flowers and colors. Rising from this floral opulence is a multi-lobed blossom which, upon closer inspection, is revealed to be framed by a star-shaped contour. Such star motifs are especially well known from embroideries in the Nurata style, though they also appear in works from other workshops.
A directly comparable example to our piece, held in the Museum of Applied Arts in Tashkent, is published in Bright Flowers by Christina Sumner and Guy Petherbridge (p.?75). Another embroidery with a similar overall composition, though more restrained in its effect, was found in the renowned collection of Ignazio Vok (Suzani 2, no.?63). A further related piece is documented in Thomas Knorr's Uzbek, plate 22.
The extraordinary extravagance of the design in our embroidery will offer a collector continuous new insights over time - each renewed, contemplative viewing will further enrich its sensual impact.
Estimate: € 12000 - 180006 000 € -
Startpreis / Startingbid
5 000 €Lot: 3
Early Bergama176 x 158 cm (5' 9" x 5' 2")
Turkey, second half 18th century
Condition: good according to age, low pile in places, partially corroded dark brown, scattered small holes, small repairs and signs of use at the kilim ends, minor small moth damages
Warp: wool, weft: wool, pile: wool
This wonderful West Anatolian carpet can immediately be recognized as a Bergama by its coloring, format, and structure - yet its design is almost unique. The field, dominated by white jagged lines, evokes Caucasian carpets, while the octagons suggest an Anatolian origin. Following this line of thought, the border reminds us of Lotto carpets, as well as a carpet in the Museum of Islamic Art in Berlin (Inv. no. KGM 1889,26; HALI 84, p. 96), where - unusually - the field itself is filled with the border design.
A portrait of Catherine Parr, the last wife of Henry VIII, from 1545 (now in the National Portrait Gallery, London, Inv. no. NPG 4451) shows a carpet with such a "ragged palmette" border (HALI 58, p. 97). Also in Berlin are two small Holbein carpets (see Spuhler, The Oriental Carpets in the Museum of Islamic Art, Berlin, nos. 5 and 6), each featuring three Holbein octagons.
These octagons are inscribed within squares - as in the large-pattern Holbein carpets - and are stacked vertically. They too are surrounded by a variant of the "ragged palmette" border.
Another interesting comparison is provided by a carpet published in Spuhler/König/Volkmann, Old Oriental Carpets, 1978, p. 76. Here, one can note the border, the Holbein octagons arranged in a "keyhole" layout, and the triangular forms at the sides. A carpet with a similar composition, shown by McMullan as no. 94, features the jagged lines - white in our piece - in a darker color.
Since carpets are never truly unique, our beautiful Bergama is not an absolute one-of-a-kind. It has a somewhat less attractive "brother," illustrated in Brüggemann/Böhmer, p. 217.
Estimate: € 10000 - 150005 000 € -
Startpreis / Startingbid
4 000 €Lot: 4
Transylvanian Double Column Rug184 x 125 cm (6' x 4' 1")
Turkey, ca. 1700
Condition: good, scattered low pile, several old repairs, sides incomplete
Warp: wool, weft: wool, pile: wool
In Transylvania, many Turkish carpets from the 17th and 18th centuries have been preserved, with numerous examples still found today in the fortified churches of the Transylvanian Saxons. A smaller yet significant group among these are the so-called "column carpets." In these, two, four, or even six columns - usually arranged in pairs - support niches in which flowers are depicted. These carpets represent a further development of the Ottoman niche carpets of the 16th century. In those early Ottoman examples, the columns are still shown in a three-dimensional manner, and instead of flowers, mosque lamps appear within the niches. Ottoman flowers, leaves, and vines are portrayed in a naturalistic style (see, for example, the Metropolitan Museum of Art, NY, Inv. no. 22.100.51).
In the Transylvanian carpets, increasing abstraction becomes evident from the 17th century onwards, yet the architectural character remains clearly recognizable. A particularly rare variant includes carpets that are mirrored along the horizontal axis - none of which, however, have survived in Transylvania. One might interpret such designs as a reflection in water, perhaps in a fountain, as the spatial impression behind the columns remains intact (see, for example, the frontispiece in Bausback 1978, Anatolian Knotted Carpets from Four Centuries).
Further evolution occurred in the 18th century, when the paired columns gradually merged into rigid, unified forms (see Herrmann, From Konya to Kokand, no. 3). The design development continued, as seen in a carpet housed in the Fitzwilliam Museum in Cambridge and another published in McMullan's book, no. 92, dated to 1768.
This progression ultimately culminated in western Anatolia during the 19th century, with examples found among carpets from Bergama, Megri, Yüncü, and Kozak.
Estimate: € 8000 - 120004 000 € -
Startpreis / Startingbid
4 000 €Lot: 5
Early Sivas Saf Kilim Fragment159 x 156 cm (5' 3" x 5' 1")
Turkey, 18th century
Condition: fragment, reduced in length, several small old repairs, slight signs of use
Warp: wool, weft: wool
The rare Anatolian double-niche kilims are among the most sought-after collector's items and have achieved the highest prices in the past (HALI 97, p. 133). They owe their name to their resemblance to mihrab carpets and prayer niches in mosques. However, one can also interpret their design as outlining a mosque with two minarets.
Essentially, there are three variants: In some examples, the niches are broad and separated by bold bands. In others, the niches are narrow, but the separating bands are equally strong. In the third type, the niches are also narrow but divided only by fine color stripes. When these stripes extend finger-like yet do not reach the edge of the kilim, the illusion of a mosque is most easily visualized. This last, minimalist version is undoubtedly the most elegant.
A fragmentary, though full-length preserved example is illustrated in Jürg Rageth's catalogue 'Early Forms and Colours', 1990, Plate 10. This piece displays six niches; comparing the measurements suggests that our example would have originally featured at least seven niches.
Beyond the perfectly beautiful colors of this kilim, it also offers a lesson in how symmetry can be achieved subtly in artistic expression. The most obvious symmetry is found in the blue frames of the niches that enclose the central green field. Less immediately apparent is the relationship among the other frame colors: the left and central frames are of the same color, while the right frame is aubergine. However, the right field shares its color with the left frames, and the right frame corresponds to the aubergine-colored field on the far left.
Two different shades of red appear within the blue frames, providing contrast to the respective other red tones. The large blue hooks within these frames are mirrored by a small blue hook on the left side. Finally, a small aubergine-colored hook in the green field centers the entire composition.
Thus emerges a subtle harmony, with a chromatic elegance that one never tires of admiring.
Estimate: € 8000 - 120004 000 € -
Startpreis / Startingbid
6 000 €Lot: 6
Fragment of a Lotto Carpet128 x 156 cm (4' 2" x 5' 1")
Turkey, second half 16th century
Condition: fragment, scattered low pile, several old repairs
Warp: wool, weft: wool, pile: wool
Although Lotto carpets are named after the painter Lorenzo Lotto, this type first appears in a painting by Sebastiano del Piombo from 1516. The design was actually developed as early as the 15th century, quickly gained popularity, and evolved into a success story spanning several centuries.
The group of Lotto carpets was classified by Charles Grant Ellis in the Festschrift for Peter Wilhelm Meister (pp. 19-31) into three categories: the later kilim group, the older Anatolian group, and the rarer ornamental group. Our wonderful fragment belongs to the Anatolian group, which is considered significantly more desirable than the kilim pieces.
It is evident that the carpet originally featured a cartouche border, and fortunately, the yellow and red guard stripes on the left side have been preserved. From this, it can be deduced that the carpet was slightly over two meters wide and at least three, but more likely close to four meters long. This alone places it in proximity to a large and famous piece in the Bargello Museum in Florence, which is also designed in the Anatolian style. This comparison piece likewise omits secondary borders, features a cartouche border, and displays an almost identical field design (Inv. no. Varie 68; HALI 83, p. 68). A minor difference is that the cartouches of the Bargello carpet are outlined in yellow, whereas in our fragment, they are edged in light blue.
The pattern of Lotto carpets is linked to the earlier Holbein carpets and to representations of flooring - probably carpets - found in Timurid miniatures. Two fragments in the Keir Collection are also comparable to our piece: see Friedrich Spuhler, Islamic Carpets and Textiles in the Keir Collection, nos. 18 and 19. All four weavings slightly crop the field design, suggesting an infinite repeat pattern - most clearly observable in the Keir example. This classic carpet is remarkable in several respects: its great age, the important group to which it belongs, and the fact that it was part of one of the rare large-format examples. It therefore represents an outstanding addition to the collection of a connoisseur.
Estimate: € 12000 - 160006 000 € -
Startpreis / Startingbid
3 000 €Lot: 7
Ning Xia Pillar Rug254 x 77 cm (8' 4" x 2' 6")
China, 19th century
Condition: very good, full pile, minor small repairs
Warp: cotton, weft: cotton, pile: wool
Estimate: € 6000 - 80003 000 € -
Startpreis / Startingbid
7 500 €Lot: 8
Fine Early Tekke Main Carpet239 (290 with kilim ends) x 193 cm
7' 10" (9' 6" with kilim ends) x 6' 4"
Turkmenistan, first half 19th century
Condition: very good according to age, full pile, several small old repairs, signs of use at kilim ends
Warp: wool, weft: wool, pile: wool
The English collector David Reuben studied 160 early Tekke main carpets as the basis for his definitive article on the subject in HALI 145 (2006). According to his findings, this carpet conforms to all of the characteristics found in the earliest group of Tekke main carpets with the standard göl layout: the long elems containing blue or green lines, a field of 10 x 4 göls, and an early form of the bird bracket on the horizontal axis of the göl.
The secondary chemche güls have an off set colour change, switching from blue to a deep green, and have no additi onal crosses or arrows and are not connected to each other on either axis.
The clarity of the drawing and the height of the main göls are particularly noteworthy, as are the colour and generous spacing of the border. The evenness of the knots between the horizontal and vertical suggests an early date of origin.
Estimate: € 15000 - 200007 500 € -
Startpreis / Startingbid
10 000 €Lot: 9
Early Dragon-Soumak288 x 195 cm (9' 5" x 6' 5")
Caucasus, first half 19th century
Condition: good according to age, partially corroded dark brown, slight abrasions, several small repairs
Warp: wool, weft: wool
This outstanding Soumak impresses not only with its well-balanced design but also with its excellent color quality. The generous use of yellow and green, complemented by a more restrained application of brown, clearly sets this piece apart from later examples. By the late 19th century, Soumak carpets were produced almost exclusively in blue and red tones.
An important detail in the field design is that the lanceolate leaves - green and white in this case - are still clearly depicted as overlapping rather than appearing as rigid rods. Another feature that elevates this piece above most other Dragon Soumak carpets is the fact that the dragons, typically positioned next to the blue cartouches, are still recognizable as such here. Although familiarity with original examples aids in identification, one clue is relatively easy to spot: our dragons are depicted upside down, with their red horns visible against a yellow background. Additionally, their scales are executed in multicolored arrowhead shapes set against a white background. These colorful points recall the dragon motifs found in the so-called Sileh flatweaves. But the exceptional nature of our piece does not end there. Another reference to the 17th-century Dragon carpets can be found by carefully observing the forms to the right and left of the lower blue floral motif: these are qilin, Chinese mythological creatures that often appear alongside flaming lions in older carpets. Of the lions, however, only a small yellow-and-blue fragment remains in our carpet.
A particularly good comparison can be drawn with a Dragon carpet from the Burrell Collection in Glasgow. See Charles Grant Ellis's discussion in Early Caucasian Rugs, Textile Museum, Washington, 1976.
It is interesting to note that the tradition of the grand Dragon carpets of the 17th century continued mainly in flatweaves during the 19th century. Although a few later pile-woven examples exist, most of them can clearly be recognized as copies of Soumak designs.
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
10 000 €Lot: 10
Extremely fine Marasali Prayer Rug on silk...134 x 100 cm (4' 5" x 3' 3")
Caucasus, dated 1254 (1837)
Condition: very good according to age, good pile, minor small repairs, scattered small moth damages, original endings
Warp: silk, weft: silk, pile: wool with silk highlights
This carpet from the Shirvan region is a technical and artistic masterpiece. The popular motif of single blossoms within a network of vines, inspired by Mughal carpets and textiles, is executed with extraordinary precision. At first glance, the red and yellow angles dominate the field. Upon closer inspection, however, one notices that all other floral motifs are also knotted in exact alignment and continue consistently in the corner sections.
All of Gaul? Not quite - right in the center of the lower field, at the base of the yellow angle, the weaver took the liberty of changing the color of a single blossom.
Five fine borders enclose the field, with the black-ground borders not only displaying the same pattern but also establishing a color connection to the vine motifs of the central field. The yellow secondary border with its leaf or boteh shapes also dominates the gable area, nearly distracting from the fact that the delicate reciprocal crenellation border actually interrupts this connection.
Above the gable is an inscription bearing the date 1254 of the Hijra, corresponding to 1837 AD. The left inscription reads: "Malak and Sakineh Khanym in the year 1254 (1837)." The right inscription is difficult to decipher: "Property of the Palace of the King." The carpet originates from Friedrichshof Palace. Friedrichshof Palace was built between 1889 and 1893/94 as a widow's residence in Kronberg im Taunus for the former German Empress Victoria (Empress Friedrich) - an English princess - who named it "Friedrichshof" in honor of her late husband Frederick III. Thus, the inscription also confirms the noble provenance.
This carpet is - very unusually for the Caucasus - made of silk and is extremely finely knotted, with 12 x 12 knots per square centimeter.
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
10 000 €Lot: 11
Sewan Kazak228 x 184 cm (7' 6" x 6')
Armenia, ca. 1880
Condition: very good, mostly good pile, minor signs of use
Warp: wool, weft: wool, pile: wool
A textbook example of this highly sought-after group of Kazak carpets. These pieces are named after Lake Sewan, located in the southern part of the Kazak region. The shield motif is derived from the so-called "Bellini" or "Keyhole" Anatolian carpets of the 16th century. There are three forms of this shield (see Doris Eder, Caucasian Carpets, p. 84), of which the type featuring the octagonal "head" is considered closest to the early Anatolian examples.
The wonderful white palmette border is extremely rare. In Schürmann's classic work Caucasian Carpets, it appears on only a single piece, a Fachralo carpet (no. 20). However, an earlier version of this border design is also illustrated there on a tree carpet (no. 2), dated around 1700.
In our carpet, the outer crenellated border is mirrored within the field, though only along the sides, allowing sufficient space at the top and bottom for the medallion - also referred to as a "Maltese cross" - and the trees. The small trees are partially overlapped by an arrow cross motif, creating a framing effect. Particularly notable are the soft, beautifully drawn leaves of the plant motifs at the top and bottom of the field; within them, a rare aubergine-colored detail can be found.
Raoul Tschebull writes of a very similar piece in Kazak (p. 27): "This rug must be considered one of the best of this type." Our example is certainly no less outstanding. Another carpet with the rare white-ground border was published by Rippon Boswell (Auction 104, Lot 73).
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
10 000 €Lot: 12
Early Saujbulag207 x 132 cm (6' 9" x 4' 4")
Persia, first half 19th century
Condition: good, mostly good pile, corroded dark brown, scattered small moth damages, sides and ends partially damaged
Warp: wool, weft: wool, pile: wool
The most famous carpet with this design is undoubtedly the one published by Heinrich Kirchheim in 1993 as no. 28 in 'Orient Stars'. There, the connection to the Harshang pattern and the excellent color quality are also discussed. At that time, only two other examples of this type were known. One of these is illustrated in Bausback's 'Alte und Antike Orientalische Knüpfkunst', 1982, on page 19.
These carpets were woven by Kurds in the mountains surrounding Lake Urmia in northwestern Persia and are named after the ancient trading center of the same name, today's Mahabad. Our piece impressively showcases the Kurds' mastery of dyeing, demonstrating their ability to achieve exceptional depth and brilliance in their colors.
In addition to the Harshang motifs, echoes of other carpet traditions can be found, such as the Caucasian floral elements along the upper edge and pendant forms reminiscent of those seen in the so-called "Eagle" Kazak carpets. Particularly charming are the two broad-shouldered rider figures, one at the lower left and the other at mid-right.
A distinguishing feature of this group is the multitude of wave-like motifs incorporated into the field. The idea of Lake Urmia and the region's diverse birdlife - as it once existed - seems not entirely far-fetched in this context.
The field, overflowing with colors and motifs, is framed by a taut "wineglass-leaf" border, reflecting the Caucasian influence evident in some of these examples. A fragmentary carpet from the famous Jim Dixon Collection shows a very similar field with a flock of birds, though with a different border (Skinner, Boston, July 7-17, 2024, Lot 289). Another version was offered at Rippon Boswell, Auction 103, Lot 116.
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
10 000 €Lot: 13
Extremely rare and fine double-sided Hezar...350 x 173 cm (11' 6" x 5' 8")
Persia, ca. 1920
Condition: excellent
Warp: wool, weft: wool
When kilims of this type appeared on the market around 25 years ago, they caused a sensation. With their abstract, minimalist expression, they not only fit perfectly into modern interiors but had also been completely unknown until then. Unlike the abstract Gabbeh carpets, no early carpet publications exist in which such pieces are illustrated. However, a kilim shown as No. 42 in Ignazio Vok's book 'Caucasus Persia, Gilim und andere Flachgewebe', 1996, was later attributed to this group.
The remoteness of the region was certainly one reason why these kilims remained unknown for so long. Yet, the market also had to be ready for their discovery - a few decades earlier, no one would likely have bought them. Most of these pieces are in excellent condition, as they were stored in dowry chests and rarely exposed to daylight. These circumstances led many experts at the time to doubt their authenticity, raising the question of whether they had been newly produced specifically for the market.
However, there exists a Persian miniature from around 1450 that shows Rustam sleeping on a striped textile, believed to originate from Mazandaran. This striped fabric bears great similarity to a group of Mazandaran kilims.
Our piece is particularly special in another respect, as it displays two different sides. Double-sided kilims are created by using a dual weft system. In Werner Weber's book 'Undiscovered Minimalism', Parviz Tanavoli writes that today's weavers no longer know how these were made, nor have they ever witnessed their production. Double-sided kilims were used as room dividers or door hangings and could thus be admired from both sides.
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
15 000 €Lot: 14
Early Ottoman Embroidery201 x 134 cm (6' 7" x 4' 5")
Turkey, late 16th century
Condition: very good according to age, minor small repairs, minor signs of use
Silk on cotton
Large-format silk embroideries are among the most coveted Ottoman textiles. They are often inspired by contemporary velvets, brocades, and tiles, yet interpret these influences with an unspoiled lightness and grace. In this piece, two basic compositional styles are combined: On one hand, there are pointed ovals enclosed by vines, often joined at the intersections by crowns with European influence. On the other hand, there is a design where the vines are twisted in the same direction, creating a uniform space filled with blossoms.
For comparison, see Christian Erber, 'Reich an Samt und Seide', pp. 207 and 235, as well as Marianne Ellis & Jennifer Wearden, 'Ottoman Embroidery', pp. 31-33 and 38-47. In the latter publication, on page 34 right, there is a fragment very similar to our piece in design and color. This fragment is dated to the 16th/17th century and displays the same rare inner field, filled with upward-facing tulips, carnations, and other floral bouquets.
A contemporary account suggests that these large-format embroideries were used as bed covers. In 'Flowers of Silk and Gold', p. 71, Sumru Belger Krody describes that they were also used as niche curtains or wall hangings.
She points to the closeness of their motifs to wall tiles and references a painting by Osman Hamdy Bey, in which such an embroidery is depicted as a wall hanging.
Estimate: € 30000 - 4000015 000 € -
Startpreis / Startingbid
10 000 €Lot: 15
Large Nurata Suzani275 x 210 cm (9' x 6' 11")
Uzbekistan, mid 19th century
Condition: very good, minor small repairs
Silk on cotton
This impressive, well-proportioned embroidery of outstanding quality belongs to the group of so-called Nurata Suzanis.
The town of Nurata, located about 100?km north of Bukhara, is known for a distinctive design featuring stylized floral bushes. However, this pattern also appears in many other regions of Uzbekistan, making any geographical attribution a matter of caution. The association with Nurata likely originates from the book 'Suzani Uzbekistana' by Tschepelewezkaja (1961) - for a long time the only comprehensive study on these embroideries and therefore indispensable for anyone working on the subject. On plates 1-4, she presents three black-and-white Suzanis with star motifs and floral bushes, all attributed to Nurata. Even without color, it is evident that the pieces differ greatly in expression - one of them would today more likely be assigned to the Bukhara group. In some Suzanis, large floral compositions radiate outward from a central star, resulting in crowded corners. In our piece, however, a more convincing solution has been found: the floral motifs organically emerge from the corners, with clearly defined stems and blossom structures. The medallion at the center is rendered in most embroideries as a star with pointed rays - but the soft, almost round form in our example is quite rare. A comparable piece exists in a Munich private collection and will soon be published; it features similar border treatments and vine arrangements. As is characteristic of fine Suzanis, every bush bears different blossoms. The medallion also exhibits a rich floral variety. Particularly striking are the carnations, which seem to push outward from the center and ultimately settle on the tips of the star. Three characteristic birds enliven the field, accompanied by two water jugs - traditional symbols of fertility. The beautifully composed, densely patterned border displays cross-sectioned blossoms within a finely drawn vine framework, interspersed with a cornucopia of smaller plants. Since Suzanis are traditionally embroidered in strips, variations in color are not uncommon. On the left side, one can see a delightful light blue - a unique charm of this piece. A (floral) poem in textile form.
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
5 000 €Lot: 16
Fragment of a Persian Garden Carpet200 x 137 cm (6' 7" x 4' 6")
Persia, ca. 1800 or before
Condition: fragment, reduced in length and width, low pile, one inserted piece of another carpet, scattered small repairs, signs of use
Warp: cotton, weft: cotton, pile: wool
Garden carpets featuring the Chahar Bagh ("four gardens") design were woven in southern Persia in the late 16th and early 17th centuries. Among the few surviving examples, the most magnificent is the one discovered in 1937 in a sealed storeroom of an abandoned palace belonging to the Maharajas of Jaipur. It was not until 2012 that this carpet was first fully illustrated (HALI 171, pp. 66-68). Depicted in a highly naturalistic manner, the carpet presents a garden from a bird's-eye view, complete with watercourses and a pavilion standing amidst the water. Various animals, including mythical creatures, populate this paradisiacal scene.
After a hiatus of about one hundred years, garden carpets were again woven in Kurdistan during the 18th century, although production ceased in the early 19th century. These carpets can be divided into two groups: one continues the bird's-eye perspective with water channels, while the other reduces the garden representation symbolically to single floral motifs within square compartments. Only a few pieces from this second group have survived. An example offered at Rippon Boswell shows, like our carpet, flowers arranged horizontally (Auction 104, Lot 155).
The better-known carpet in Berlin follows the same scheme (see Spuhler, The Oriental Carpets in the Museum of Islamic Art, p. 247), whereas page 231 of the same book illustrates an example from the first group, featuring watercourses. A complete carpet of the so-called "cassette" group is shown in black and white in HALI 5/1, p. 57, where a diagonal color arrangement can be discerned.
Our carpet was advertised by Richard Golden Jr. in HALI 78, p. 119.
By the late 19th century, the garden motif reappears once again, this time in Heriz and other workshop carpets.
Estimate: € 10000 - 150005 000 € -
Startpreis / Startingbid
20 000 €Lot: 17
Early and very fine Silk Joshegan174 x 146 cm (5' 9" x 4' 9")
Persia, ca. 1800
Condition: good according to age, mostly good pile, some abrasions in the right border, signs of use at sides and ends, extremely soft handle
Published: 1) "Seltene Orientteppiche V", Eberhart Herrmann, 1983, plate 58
2) "Antike Orientteppiche aus österr. Privatbesitz", TKF, 1986, plate 98
3) HALI 137, p. 83
Warp: silk, weft: silk, pile: silk
For many connoisseurs, this carpet is considered one of the most beautiful surviving silk carpets. Moreover, it represents an important transitional piece, bridging the Safavid golden age of carpet art with that of the 19th century.
In the emperor's bedchamber in the Red Fort in Delhi (1639-1648), there is a gilded ceiling decorated with a lozenge lattice pattern, whose original inspiration may have come from Europe (cf. D. Walker, 'Flowers Underfoot', p. 89; 'Teppiche', pp. 106, 112, 124). An Indian carpet in the Victoria and Albert Museum, Inv. No. IS 244-1964, from the second half of the 17th century, displays floral motifs that can be seen as precursors to those in the present piece.
At the end of the 17th and into the 18th century, this pattern - also through Kashmiri textiles - reached Kirman in Persia.
In F. R. Martin's 'The Oriental Carpet Before 1800', a large Persian carpet with a red ground, formerly in the author's possession, is illustrated. It shows a similar lozenge lattice with floral bouquets and is dated to around 1750.
While the field design may possibly originate from India, the stunning white border of our carpet is clearly of Persian origin. One of the field motifs is identifiable as a floral bouquet, while the second, herringbone-like motif, only reveals itself through one or two levels of abstraction - as a stylized form.
This brings us to the tomb of Shah Abbas II. and its decoration with silk carpets (HALI 200, p. 153 ff.). An inscription on these carpets indicates that they were made in Joshegan. Naturalistic representations of cypress trees, surrounded by floral vines, explain the pattern and reveal the herringbone motif as an abstracted tree.
Carpets from the transitional period between the Safavid era and the later manufactory production are rarer than the classical pieces. When they also possess such high aesthetic quality as the present one, they were already highly sought after in 1985. Upon its first publication by Eberhart Herrmann, this carpet was priced at 85,000 DM.
Estimate: € 40000 - 6000020 000 € -
Startpreis / Startingbid
10 000 €Lot: 18
Silk Kum Kapu with Polonaise-Design and...209 x 160 cm (6' 10" x 5' 3")
Turkey, ca. 1920
Condition: good, low pile in places, partially corroded brown, slight abrasions, slight signs of use
Warp: silk, weft: silk, pile: silk and metal brocade
In the second half of the 19th century, Armenian weavers settled in the Kum-Kap? district of Constantinople. They began producing the finest silk carpets - some with metallic brocade - following Ottoman and Safavid models. 'Das Wiener Werk', the magnificent publication accompanying the carpet exhibition at the Imperial and Royal Austrian Museum of Commerce in 1891, certainly contributed to the availability of templates that sparked a renaissance of classical motifs.
The majority of the Safavid-inspired pieces are prayer rugs or spiral-vine carpets. Works modeled after the so-called Polonaise carpets, however, are comparatively rare. Two master weavers stood at the center of this production: Hagop Kapoudjian (d. 1946) and Zareh Penyamin (1890-1949). A carpet attributed to Penyamin, offered at Sotheby's in London on April 24 (lot number 188), also features a Polonaise design. In this piece, as well as others from the same cartoon, the colors were adapted to suit the taste of the late 19th and early 20th centuries.
Our example, by contrast, retains a palette much closer to earlier traditions. Clear tones of apricot, pink, and green - favored by the Safavids - stand in stark contrast to the muted, somewhat "saucy" browns, oranges, and dark greens found in the Penyamin carpet. A Polonaise carpet in the Carpet Museum of Iran (inventory no. 151), published in HALI 195, page 57, displays more or less the same design and coloration as the piece at hand. Another example belonging to the same design group is illustrated as Plate 10 in F. R. Martin's 'A History of Oriental Carpets Before 1800'.
Estimate: € 20000 - 3000010 000 € -
Startpreis / Startingbid
15 000 €Lot: 19
Early Central Anatolian "Bellini"-Rug218 x 134 cm (7' 2" x 4' 5")
Turkey, first half 17th century
Condition: according to age, low pile, corroded brown, several old repairs and missing parts, sides and ends partially incomplete
Warp: wool, weft: wool, pile: wool
Carpets with "re-entrant" or "keyhole" designs can be found in Italian paintings from the late 15th century, notably by Cima da Conegliano and Gentile Bellini, and in the 16th century by Lorenzo Lotto and Hans Holbein. Carpets from this period are illustrated in Balpinar/Hirsch, 'Vakiflar Museum Carpets', pp. 212-225.
Johanna Zick classified these carpets into four groups in 1961, a categorization that remains valid to this day. Our piece belongs to Group D. Michael Franses further divides Group D into two subgroups: D1 and D2, in the book 'Orient Stars II - Anatolian Tribal Rugs', Hali Publications, 2021, pp. 82/83.
A Dutch painting from 1673 depicts a "keyhole" pattern that is very similar to ours, and the border also appears closely related, although it is shown in dark tones (ibid., p. 81). The border framing our piece can also be seen as a further development of the "ragged leaf" border, as seen on a prayer rug with a "keyhole" pattern in the Museum of Turkish and Islamic Arts in Istanbul (Inv. No. 357, Michael Franses, 'Orient Stars II', p. 79).
Most of these wonderful pieces originate from Central Anatolia, with some from Western Anatolia. The pattern ultimately reached its final form in the 19th century in the Sewan Kazaks from the Caucasus. The entire group has been comprehensively discussed by John Mills in HALI 58, pp. 86-103.
This piece, significant in terms of design history and also anchored in a Dutch Old Master painting, will, after careful conservation, hold a central place in the history of Anatolian carpets.
Estimate: € 30000 - 4000015 000 € -
Startpreis / Startingbid
15 000 €Lot: 20
Early Cal Yatak210 x 180 cm (6' 11" x 5' 11")
Turkey, 18th century
Condition: very good according to age, mostly good pile, partially corroded dark brown, scattered small old repairs, selvages rebound
Warp: cotton, weft: wool, pile: wool
Square West Anatolian carpets are referred to as 'Yatak' - meaning "bedstead," or a base for sleeping. Many of these pieces display a field design with Memling Güls. Only a very few examples - a higher single-digit number is known - feature a design of square fields filled with "hooks and arrowheads," reminiscent of Holbein carpets.
This carpet radiates a wonderful sense of calm, comparable to the piece auctioned by Rippon Boswell in 2008 for a record price of 58,560. That example shared the same color distribution in the field, though it included filler motifs and a border of diamonds.
The majestically serene geometry of both pieces creates a fascinating interplay between diagonals on a white ground and a red-blue cross. Moreover, the foxy-brown ground of this carpet allows the hook-filled squares to appear as if they float, since no superfluous filler motifs disrupt the image, and this color is not repeated elsewhere in the composition.
Further examples of this type have been published in HALI 2/4, p. 23; in Raymond Bernadout, 'Turkish Carpets', 1975, No. 7; later republished by Eskenazi in 'Il Tappeto Orientale', 1983, No. 44; as well as in the TKF portfolio, Plate 22, also found in 'Sovereign Carpets', p. 55 left. The latter, only fragmentarily preserved, was attributed to Cal by Harald Böhmer.
Others have argued for Konya, but the cotton warp of our piece seems to support Böhmer's attribution.
Another example, featuring only two rows of the main motif, is illustrated in HALI 114, p. 22.
Estimate: € 30000 - 4000015 000 €