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Vol. XXVIII, No. 3 March, 2021 Newsletter

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Vol. XXVIII, No. 3 March, 2021 Newsletter View from the Fringe Newsletter of the New England Rug Society Vol. 28 No. 3 March 2021 www.ne-rugsociety.org March Meeting (Online): Stefano Ionescu, “Tracing the Ottoman Rugs in Transylvania” Meeting Details Date and Time: 11 AM (EST), on Saturday, March 13 Venue: Your desktop, laptop, or tablet! Directions: Jim Sampson 1 will email invitation links to members; to receive the Stefano Ionescu, examples, including Ushaks, Holbeins, Lottos, Selendis, and Zoom login, you must register and a view of Lotto a wealth of “Transylvanian” rugs. The presentation will draw before the meeting by clicking and small-pattern on his new ideas and latest findings about these carpets— on the link in Jim’s email. Holbein rugs including the nature of their “intentional imperfections.” He Non-members should email in Saint Margaret’s will conclude by showing some unpublished examples of the [email protected] Church, Mediaş, Bistritza collection held in the Germanisches Nationalmuseum to get an invitation link. Transylvania in Nuremberg, and will briefly report on a project of weaving high-quality Anatolian copies of these rugs, to be displayed Transylvania is the repository of the richest and best- in the Bistritza Parish. preserved group of small-format Anatolian rugs outside the Born in 1951 in Transylvania, Stefano has lived in Rome Islamic world—almost four hundred examples (including since 1975. An independent scholar, he is the major expert on the fragments) attributable to the golden age of Ottoman corpus of Anatolian rugs surviving in his homeland. His first rug weaving. On March 13, Stefano Ionescu will tell NERS book, Antique Ottoman Rugs in Transylvania (2005), was attendees and guests how these rugs arrived in Transylvania, awarded the Romanian Academy Prize in Art History. The first and why they entered the patrimony of the Protestant edition of his Handbook of Fakes by Tuduc was published on the Churches. Then he’ll take us on a virtual visit to some occasion of his 2010 lecture to NERS on that topic. He is a HALI 1 notable church collections, with an eye to viewing the best contributor and a Joseph V. McMullan Award recipient. 1 More Programs of Interest April 24: Fred Mushkat on Weavings of Nomads in Iran Noting the recent publication of his Weavings of Nomads in Iran: Warp-faced Bands and Related Textiles, NERS invited Fred Muskat to be our April speaker. Too late— he was already scheduled to share his findings in a George Washington University/Textile Museum-sponsored Rug and Textiles Appreciation Morning. We encourage our members, and all who have viewed our past Zoom presentations, to register for this event, on Saturday, April 24, at 11 AM (EDT): https://museum.gwu.edu/rug-and-textile-appreciation-morning-weavings-nomads-iran Camel chest band (det.), Qashqa’i, Fred Mushkat Collection May 15: Good, Better, Best In 1995, longtime NERS president Mark Hopkins devised “Good Rug, Great Rug,” in which panelists considered two or more rugs (shown as slides), and rendered judgments (often witty as well as enlightening) on the rugs’ relative merits. The program became a staple and was exported to ACOR. Now, thanks to GWU/TM Rug and Textile Appreciation Mornings, it will be revived in Zoom-friendly form, as “Good, Better, Best.” With Wendel Swan moderating, experts Ben Evans (HALI ), Mary Jo Otsea (formerly Sotheby’s), and Detlef Maltzahn (Rippon Boswell) will offer their informed takes on what makes one rug merely okay and another one truly great. Audience members get to vote, too. Register for this event, on Saturday, May 15, 11 AM (EDT), at https://museum.gwu.edu/rug-and-textile-appreciation-morning-good-better-best Wedding trapping for a camel (det.), Salor, TM 1979.35.6 Upcoming Auctions Mar. 13, Wiesbaden, Rippon Boswell, Online-Only Auction Apr. 26, Vienna, Dorotheum, Oriental Carpets, Textiles, Mar. 27, Vienna, Austria Auction Company, Fine Oriental Rugs XXIV and Tapestries Apr. 1, London, Christie’s, Arts of the Islamic and Indian Apr. 27, Boston, Skinner, Fine Oriental Rugs & Carpets Worlds, including Oriental Rugs and Carpets May 29, Wiesbaden, Rippon Boswell, Major Spring Auction Apr. 22, Philadelphia, Material Culture, Oriental Rugs from Sept. 4, Wiesbaden, Rippon Boswell, Orient Stars II (Rugs American Estates from the Heinrich Kirchheim Estate) Photo Credits p. 1: Stefano Ionescu p. 2: GWU/Textile Museum pp. 3–7: Jim Ford (figs. 1, 2, 4, 5, 8–13); Dallas Museum of Art (fig. 3); Harvard Art Museums (fig. 6); Chester Beatty Library (fig. 7); Balpinar and Hirsch, Carpets of the Vakıflar Museum (fig. 14) pp. 8–12: Alberto Levi, with images courtesy of John Taylor, https://www.rugtracker.com/2017/10/rugs-of-golden-triangle.html pp. 13–19: Grogan & Company 2 View from the Fringe January Meeting Review: Jim Ford on Early Persian Medallion Rugs and Their Legacy By Jim Adelson On January 9, in our third online to carpet-rich museums in Berlin and Vienna. Within ten meeting, author and rug-industry years, he began his first book, Oriental Rug Design, intended veteran Jim Ford addressed NERS to tell readers how to identify rugs by their layout and motifs. members and viewers from literally Directly following its 1981 publication, Jim began researching all over the world. His topic, drawn the origins of some of the designs he had documented. from his recent book The Persian First he noticed the collectors: although King Henry VIII Carpet Tradition, was titled “The and Cardinal Wolsey had amassed famous collections, it wasn’t Early Persian Medallion Carpets until the third quarter of the nineteenth century that the and Their Collectible Derivatives.” wider western world woke to the possibilities of collecting Jim began by noting his long career—fifty-four years— antique carpets (meaning pile rugs, not kilims). Collectors in the oriental carpet trade, starting in 1967 as an export and museums acquired distinctive examples such as the salesman for the London importer OCM (Oriental Carpet “Emperor’s Carpets,” the Ardebil Carpets, the Vienna silk Manufacturers), selling Persian carpets in Germany. hunting carpet, and others. He spent his first three months just studying rugs, learning While these masterpieces were unique or at most from books and looking at OCM-imported rugs, before woven in pairs, the same buyers also aquired a substantial talking to any customers. As he began to travel the German- group of early Persian carpets that shared a single repertoire speaking market, his rug education was expanded by visits of central-medallion, ground, and border designs. Approximately eighty of these, currently scattered in museums and private collections in North America, Europe, and the Near East, have survived. To Jim, they merited closer study. Although many questions about this group remain unanswered, Jim concluded that most were woven in Persia between 1480 and 1580. One of the earliest extant examples— datable to circa 1505 by his reckoning—was a medallion carpet given to the Textile Museum by Joseph McMullan (1). In its main border are small human figures, one of them (2) in the sort of headgear worn by the Shiite supporters of the Safavid rulers. This turban style, known as the tāj-i Ḥaydarī, included a columnar projection whose form evolved rapidly— from relatively short and thick in the earliest years of Safavid rule to tall and narrow a quarter-century later. The turban projection depicted in the McMullan carpet border is of the thicker form seen in a manuscript painting dating to about 1505. 2, 3. Turbans as shown in the border of fig. 1 and in a detail 1. Early Persian medallion carpet (det.), ca. 1505, of a ca. 1505 painting detached from a Nizami Khamsa, Textile Museum R.33.1.1, Gift of Joseph V. McMullan Keir Collection, Dallas Museum of Art K.1.2014.739 View from the Fringe 3 Jim Ford, “Early Persian Medallion Rugs and Their Derivatives,” cont. 5. Carpet (det. of medallion), ca. 1505, Met Museum 64.311 6. Portrait of Sultan Husayn Bayqara, ruler of Herat, wearing a cloud collar, ca. 1480, Harvard Art Museums 1958.59 2 7. Cloud coils surrounding the dedicatory inscription of a manuscript copied for Turkmen ruler Pir Budaq, 4. Medallion carpet (det.), ca. 1580, Bardini Museum 730/456 Shiraz, 1459, Chester Beatty Library Per 135, folio 1r 3 Like styles of Persian dress, the designs of the medallion clothing depicted in manuscript painting throughout the carpets also evolved. Compared to the McMullan carpet (1), fifteenth century (6). Likewise, the vine scrolls in their fields a circa-1580 carpet now in the Bardini Museum, Florence, appear in the illuminations of fifteenth-century Persian is more refined in every aspect, from its cartouche border and manuscripts, as do the designs of their borders. In particular, cloudband-and-palmette ground to its elegant medallion (4). these design elements seem most closely related to the Where were these medallion carpets made? Jim thought decorative style of manuscripts produced in royal kitabkhanas Arthur Upham Pope erred when, in 1931, he declared the group (design studios) linked to the Timurid and Turkmen rulers to be Safavid court carpets, produced in Tabriz. Unlike of fifteenth-century Shiraz. acknowledged court carpets, which are finely woven and For instance, the “cloud coils” that surround the medallion often include silk, rugs in the medallion group have a fairly of a 1459 Shiraz manuscript dedicatory roundel (7) also edge low knot count—some as low as ninety per square inch—and the central medallions of carpets in this group (4, 5) but 4 5 lack any silk whatsoever. Nor did Tabriz weavers use the never appear on Safavid court rugs. Jim concluded that the asymmetrical knot, a feature of every one of these medallion design of these medallion carpets originated in a sub-royal carpets.
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