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Astonishing 19th Century Rare Afshar Tribal rug featured in famous book
$9,400
£7,132.50
€8,155.38
CA$13,129.25
A$14,597.94
CHF 7,622.24
MX$177,692.49
NOK 97,256.45
SEK 91,124.65
DKK 60,865.10
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About the Item
Featured as an exemplar of Afshar tribal creativity in James Opie's notable book " Tribal Rugs " this extremely rare collector's piece was used in a lecture series we conducted on the possible albeit unexamined influence of tribal rugs on early 20th century European painting .
The Afshars during the 19th century were amongst the dominant five nomadic groups in Iran and unquestionably the most daringly creative, and probably the most prolific in weaving output . Though the vast majority of their carpets exhibit traditional , more angular tribal patterns, this example is an extraordinary tribute to one female weaver as designer . There seems no precedent for the remarkable move into mind bending forms which veer off from the norm , which make it a high collectible and unquestionable investment piece .
The achievement of two elements stand out : colour and design execution . The rich and varied natural dye colours are deep and powerful and include a range from the treasured eggplant , through a provocative orange , yellows ( saffron), pale peach, to three unusual blues and a rare rust brown . Green is also sensitively applied to the palette .
The design also represents a departure from all norms before or since amongst Afshar rugs . The central medallions have been altered to create an almost moving, slightly hallucinatory effect ; the graceful tumbling of coloured leaves or vines is singular in its presentation, graceful yet very much alive . Most interesting are the designs within the medallion which seem to be an evocation of the ancient Chinese dragon and phoenix symbols . This theory gains a bit more traction when you look at the upright shrine type figure rising up alongside the medallions - these appear Chinese , as well, in a semi- abstract way-- influences such as these had been travelling across thewide continent of Asia for millenia .
The borders are classic traditional Afshar , noted for their lovely re-creation of flower symbols , interlinking , and slightly irregular , showing the artistic seredipity of the artist/ weaver . The colours here too, particularly the blues and yellows are nothing short of spectacular .
The amount of detailled hand work suggests that this piece would have required at least two years work on a ground loom- a humbling thought in thinking about the nomadic life in the 19th century.
This rug is of a size and of such a beauty that in the right open modern decor, it could well occupy a wall space of distinction, as would a modern art canvas ---though it is in a good, strong condition for moderate wear and will last a century or more on the floor in a moderate wear environment, with reasonable care : it is sturdy wool on wool , warp and weft , in solid condition . No repairs . Clearly it has been well looked after over its 140 year life .
It was acquired from a Viennese estate where it was alternatively hung on a wall and used in a master bed room, by a devoted connoisseur of tribal carpets . We confess to have retained it for several years for our own delight , prior to releasing it for sale .
Even if you are not keen to buy such a rug type, do take a moment to examine this piece for your own pleasure, especially if you appreciate 20th century painting . For the person who acquires it , it will provide endless visual delight and a good investment . With well over 50 years in the business , and as particular lovers of fine Afshars, we are quite certain never again to see a rug of this elevated pedigree, and quintessential mystery .
- Dimensions:Width: 36 in (91.44 cm)Length: 60 in (152.4 cm)
- Materials and Techniques:Wool,Woven
- Place of Origin:
- Period:
- Date of Manufacture:1880
- Condition:Wear consistent with age and use. very good usuable condition .
- Seller Location:WYNNUM, AU
- Reference Number:Seller: FAC4004 1041stDibs: LU7409231312132
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From a Boston Collector.
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This is another of our small stock of Afshar collectibles which astonish as to their artistic form. This example was recently acquired from a Boston collector’s estate. The wool, very soft, is of excellent quality and the weave very fine, the rug in superior condition.
Boston Antique carpet expert Michael Grogan declared it as one of the very finest and most original Afshar rugs he had ever seen.
This piece was recently used along with two others in a lecture series which pondered the question of likely influence of tribal (and arguably other Persian e,g, Montasham Kashan) rugs on the development of Western 20th century painting.
The abrupt break with traditional forms by a gifted female weaver in a remote location and in the throes of a nomadic life, considering her circumstances, is awe inspiring.
The wide and in cases unusual colors deployed (note the dark browns probably achieved with walnut shells in the dye vat...
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Ersari Turkomen Very Rare small main carpet circa 1860 short term reduction
Located in WYNNUM, QLD
Acquired from a Viennese collector’s estate
The Ersari tribe of the wider Turkomen nation living in Turkmenistan, Afghanistan and Iran are one of the weaving tribes better known and understood by scholars. The Tekke Turkomen’s woven materials are perhaps best known in the West, followed by the Yomud, Salor and Ersaris. A Salor main carpet, 30% larger and about 40 years older than this piece recently sold in Austria for over $50,000, such is the scholarly , collection, and investment zeal found around the world . We are making this piece available at a short term steep discount to conincide with out launch on 1st Dibs .
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Impeccable Artistic Antique Ferahan Sarouk, 1880
Located in WYNNUM, QLD
Acquired from a Swedish collector
Ferahan Sarouk carpets produced around the wider Arak (city) area from about 1850-1900 earned a deserved reputation as amongst the most desirable and imaginative finely woven carpets in Persia. As these things go, they morphed in style around 1910- 1920 into the differently woven Mahajirhan Sarouk fashion (quality examples of which are also in demand) and then disappeared entirely.
Their desirability rests not only on fine weaving, and excellent wool. Many of the better examples were commissioned by aristocrats or wealthy merchants who encouraged new approaches and creativity, one source of their excellence.
Beyond this lay a more fundamental and seemingly contradictory set of motivations by the weavers. At one and the same time they sought to emulate the great court carpets in finesse and design, and yet-- they applied rustic or village, and even tribal elements and nuances to their designs. The result was a cavalcade of creativity.
So, a village-based genre came into being which produced primarily an approx. 6x4 rug size format, and also provided, if more rarely, larger formats, which command increasingly high prices, due to their rarity, visual excitement and grandeur.
The artistic achievement of this “school” had to do with marrying elegance and a degree of formalism with whimsy, and design innovation. They offer a charm and a certain magic beyond that of court and most city carpets.
As in any area or era, there is a quality spectrum ranging from mediocre to highly superior. Superiority is judged of course as to weave and wool quality. It is rather unusual, though, to encounter pieces made before 1890 -which are bona fide Ferahan Sarouks- with poor wool or weaving: standards were upheld during this period, and natural dyes employed universally.
Thus, as an investment collectible to adorn the home we believe the ultimate criterion is aesthetics, this being an art form, after all.
Ferahan Sarouks have been a special area of interest for us over the decades both from artistic and investment perspectives.
Allowing for personal taste, our suggestions are few and simple. A Ferahan Sarouk ought to display a wide colour palette, fine and creative drawing and delicate, sometimes “intense “detail. The finest pieces also display balance in the use of space.
We have seen many finely woven pieces which in our view are garish and lack one of the two key artistic elements intrinsic to the better examples of this genre – elegance. Sometimes they are overly cluttered; the drawing artistry is muddled or lost. In other cases odd and ineffective design devices are used, detracting from or interfering with an otherwise good design. The era of the Ferahan Sarouk was rife with experiment, not all of them successful.
The other important attribute, when it can be found, is original artistic creativity, even serendipity, -- or effective design innovation within the compass of this rug type and the unique standards of its prime period.
On average, we examine between 20-30 antique Ferahan Sarouks...
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