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Lot 1
Ersari Turkmen panel, south Turkmenistan, late 19th century, 1ft.11in. x 5ft.1in. 0.59m. x 1.55m. Even wear overall, slight loss top edge and to corners. See Loges, Turkoman Tribal Rugs, pp. 161-2 for three closely related weavings and a discussion thereof as well as references to other published examples; Loges considers them to be torbas, although they may be panels to wrap the kejebe (wedding litter) or even asmalyks.
Lot 1
An exceptional Lori Pambak Kazak rug, south west Caucasus, about 1860-70, 6ft.8in.x 5ft.7in. 2.03m. x 1.70m. Kink top end centre Ð no damage to pile. Mike Tschebull, in his essay on this and three other design types of Kazak rug (Raoul Tschebull, 'The Development of Four Kazak Designs', Hali vol. 1, no. 3, 1978, pp. 257-261) illustrates seven examples which show the development of this most distinctive motif throughout the 19th and early 20th centuries. The earliest version is seen on two rugs, one of which is dated the Hegira equivalent of 1846AD (figs. 21-6); the central green cruciform medallion, the defining characteristic of this group as a whole, is drawn in a more fluid and zoomorphic form than on later versions and although Tschebull suggests a link to Turkmen gols (perhaps a tamga or tribal emblem is a more probable), the central motif on these early examples also seems to show recognisably Chinese antecedents. The second of Tschebull's groups is represented by a rug dated the equivalent of 1897 (fig. 29); this is closer to the rug offered here but has some small but appreciable differences. It is virtually identical to the rug illustrated by Bennett, Oriental Rugs Volume I: Caucasian, no. 5 and may share the latter's somewhat harsh palette. Design differences include the three arrow heads above and below the principal motif on the Tschebull and Bennett rugs as opposed to the blue serrate-edged motifs seen on this rug which are close to those seen in the same position on the earlier rugs. Similarly, the present rug retains the double 'crests' on the opposed pairs of birds' heads at top and bottom of the green cruciform; in the later examples, these become single 'crests' and on even later rugs made around 1910 disappear altogether. Finally, the main ivory ground border of our rug, although a simplified version of the pattern seen on the earlier rugs, is much less angular and repetitive than the version used on the later examples; it also has the same series of simple quartered diamonds in the two flanking guards as the earlier rugs. In other words, both the design elements and the palette of this rug suggest that it represents an intermediate stage between Tschebull's early and middle groups, which would place it chronologically around the end of the third quarter of the 19th century, certainly before the introduction of synthetic dyes around 1875-80.
Lot 1
An interesting Lori khorjin face, Fars province, south west Persia late 19th-early 20th century, overall 2ft.1in. x 2ft. 0.64m. x 0.61m. Small hole lower border. The interesting aspect of this bag face is that were it not for the sumac woven panel at the base (which, presumably, originally formed part of the backing), this bag-face, which is symmetrically knotted with white wool warps and red wool wefts, would have been considered a perfectly standard Qashqa'i or Khamseh piece. However, the sumac panel, with its white wool warps, white cotton weft faced ground and wool supplementary weft patterning, is typical of the work found in the large sumac woven bags with pile edging panels usually attributed to the Bakhtiari Lors of Fars and the Chahar Mahal. This is the only example of its kind we have seen either in 'the flesh' or in the extensive literature of Persian tribal weaving.
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