Admittedly my prowess as a photographer leaves much to be desired, but I believe the beauty of the rugs will speak for themselves.
The photographs were taken using natural light. The reasoning behind this is that, compared to other light sources, natural light gives a truer reflection of the colour schemes. Also, I did not use any colour filters when taking these pictures and it must be said that the photographs which I have posted may vary under different or varying light intensities. Together with the descriptions of the rugs, I have also included interesting information regarding design and origin.
To reiterate, if further information or photos are required, please contact me on the email address provided.
1.Tree of Life Rug
Origin : Kerman province, Iran. Possibly from the village of Ravar
Structure : Wool and cotton foundation.
Size : 222 cm x 145 cm
Circa : Qajar dynasty, late 19 century
Condition : Age related wear with consequential low pile and noticeable wear at the lower border. Uneven fringes and slight fading of the blue dye in the middle of the rug.
About the Rug : The rug has a symmetrical tree of life design, ascending to the apex of the mihrab(arch). A bird, possibly a dove with a stylized red wing, is perched on the tree and one at the base of the tree. The branches of the tree are surrounded by a myriad of flowers and different shaped leaves, including sickle shaped leaves. This natural scene is juxtaposed on a striking dark blue background.
The scene is framed by a floral border interspaced with what looks like doves. The many branches of the tree convey that all of earth’s life is connected. Another interpretation is that the tree of life represents resurrection and immortality, a concept prevalent in all religions. The tree could possibly be the Haoma tree, important in Zoroastrianism.This is a rare rug with corresponding high collectability and future value. This rug would do better as a mural tapestry and would bring life to any space, as the design suggests.
2.Pictorial Tapestry / Rug
Origin : Kerman province, Iran
Size : 220 cm x 137 cm
Structure : woollen pile on a cotton foundation
Circa : turn of the 19 th century, early 1900s.
Condition : Age related wear. Very low pile. Could do with a professional cleaning. Colours are still extremely vibrant. Very short fringes at either end. No tears or holes noted although some areas of the pile are very low.
About the Rug : The rug depicts a scene at the court of the 18th century founder of the Afsharid Dynasty, Nader Shah Afshar. The text at the top of the rug proclaims this leader. He remains a well loved figure in Iranian history, having pushed out the Ottomans from Persia as well as for his many successful military campaigns. He also invaded Mughal Delhi and looted the legendary peacock throne, as spoils of war. I don’t think he is seated on said throne in this pictorial, as the throne was much more elaborate. In this scene the king appears to be in the company of his advisors. A table with a vase of flowers upon it, is surrounded by the wise men. Note also, the men have their hands over their hearts, a sign of respect. A wider border , flanked by thinner foliated borders on either side, display the head of the Shah( in a cochineal red background) at interspaced positions as well as deer, horses, rabbits, wolves or dogs and a bull/cow. The deer virtual love that has reached true and Divine love. The bovine with the wolf, possibly represents the battle of light and dark. Due to age, a very collectable rug/tapestry with good future and current value.
3.Garden of Paradise rug
Origin : Kerman province, Iran. Possibly Ravar village
Size : 212cm x 134 cm
Structure : wool on a cotton foundation
Circa : 1900 to 1920
Condition : excellent condition
About the rug : this is truely the most beautiful rug in my collection. Three trees are depicted, with two rising to the apex of the mihrab. Various species of colourful birds are perched on the branches, as well as at the base of the trees. The trees are set against a backdrop of a thousand flowers, ‘mille de fleur’, vines and berries. Included is the Damask rose, which is a popular motif in Kerman rugs. I count 14 pairs of birds within the main scene, with each pair being of a different species. The paradise scene, in typical antique Kerman fashion, is framed by a wider border, flanked on either side by narrower foliated borders. Within the wider border are to be found numerous birds, interspersed amongst more flowers. This scene is suggestive of paradise. The striking borders are dyed with the deep red cochineal dye. The wool is of soft carmanian wool, which is typically used in Kerman rugs. The fleece of these sheep made softer by the high copper content of the water in this arid region. This is a stunning rug, and collector and investment value is very high.
4.Hunting Rug Pictorial
Origin : Kerman province, Iran. Possibly from Lavar village
Size : 190 cm x 128 cm
Structure : wool and silk highlights on cotton foundation
Circa : 1900 to 1920
Condition : good condition, with no noticeable wear
About the rug :The scene depicts men on horse back engaged in a hunt. The men appear to be hunting deer as well as predators like leopard and wolf. The birds, trees and flowers are used to give the hunting scene a much more beautiful and sweet look. Some scenes are suggestive of them using dogs to hunt. The hunt is taking place in a mountainous area, and there seems to be an abundance of life. The flora at each hunting scene suggests a different area and the spatial arrangement is masterly pulled of by the designer to create a fluid moving scene. Part of the clothing of the hunters are woven in silk. Overall a beautiful rug with an even pile and the carmanian wool gives the rug a lustrous look and feel. The striking wider border continuous the hunting scene but without humans. The wider border is flanked at both ends by striking blue foliated thinner borders. In my exhaustive search of antique Kerman rugs, I have come across very few with a hunting scene and even less with part silk weaving. A rug with high investment and collector value.
5.A Pair of Vased Cypress Tree Rugs
Origin : Province of Kerman, possibly the village of Laver
Size : 224 cm x 137 cm (both)
Structure : woollen pile on cotton foundation
Circa : Most likely between 1910 and 1920
Condition : Age related wear on both rugs with the consequential low pile.
Rug B having more wear and fading of some colours
No tears or holes in either of the rugs.
About the rug : The central figure comprises a cypress tree that originates from an ornately decorated vase. The design of the vase is unique in structure and appears to bear a chained medallion with a possible crest . This rug is a directional rug, meaning that due to the orientation of the design it can be viewed properly from only one direction.Water is also visible within the vase. The cypress tree, according to literature, is often used in Iranian art and in Kerman rugs. It’s symbolism appears to be three fold :
– immortality or life after death and mourning
-perseverance and pride
– the garden of Eden.
The outline of the tree is achieved by using alternating foliage and flowers, with the area within filled with an arabesque pattern. Arabesque can best be described as scrolling vines which includes leaves, buds and blossoms. In and amongst the Arabesque pattern, pairs of paisley or boteh are interspersed. Interestingly, here the boteh is represented in 3 forms
– as flame shaped
– pine cone
– mother and daughter boteh, smaller boteh found within a larger one,with the obvious inference of fertility
The arabesque pattern fills in the field outside the cypress and attests to the designers skill of creating continuity and balance of design. The Damask rose is well represented in this field. The field is highlighted by beautiful hues of blue, greens and cyan. As with Kerman rugs, the wider border, filled with scrolling vines, populated with boteh, is flanked on either side by thinner borders of boteh. The use of madder derived dyes allow the dominant blue field to be framed by a softer red. I find the design of this rugs quite unique and the fact that there is a matching pair of antique rugs, enhances their collectability status as rugs or tapestries.
Rug A
Rug B
6. Boteh or Paisley Rug
Origin : Kerman province, likely from the village of Raver
Size :190cmx 138cm
Structure : woollen pile on a cotton foundation
Circa : 1920s into the 1930 decade
Condition : Very good. Slight fading of red border dye on one side
of length
About the rug : The jewelled tones of the rug are highlighted on an ivory background. The wool used in this rug is a great example of the lustre of Carmanian wool used in Kerman rugs. If wool could look and feel like silk, then this rug would meet all criteria. The boteh, interspersed at regular intervals, amongst small blue and red flowers on scrolling vines, again represent fertility with a seed within the boteh. This is a rich, lustrous rug and the design and colours used enhances the antiquity of the rug. The continuity of design continues to the wide border of the rug which is populated by more boteh. The flanking narrower borders in contrast populated with a single row of flowers on a striking almost turquoise background. The colour combination of the dyes used, the repeated boteh and the luxuriousness of the wool used enhances collectability and investment value.
7.Vase Rug
Origin : Esfahan or Tehran vase rug
Size : 220cm x143cm
Structure : Woollen pile on cotton foundation
Circa :+ – 1910
Condition : Good condition
About the rug : I initially bought this rug thinking it originated in Kerman. However in consultation with other antique rug enthusiasts,the origins are most likely in Esfahan or possibly Tehran.This pictorial rug is dominated by a beautifully woven urn or vase (hence the name), crimson in colour (cochineal red dye), interlaced by arabesque vines of flowers.The urn or vase is outlined and segmented by striking blue curvilinear lines.From the vase sprouts red roses and other blue flowers on small branches. This scene depicts the bounty of nature and is further enhanced by the trees in the fore and background. The trees with many branches represents the idea that all life is connected. The birds and rabbits on and below the trees add truism to this concept. The colourful green and blue birds add a delightful contrast to the ivory background. Of special note are the pink and blue birds, with snakes in their bills. That I leave to the wonderful imagination of the reader to interpret in the context of the tree of life motif. The theme of nature continues in the wider border with flower and bird motifs, with the black thinner borders on either side adding a wonderful contrast. Rugs from Tehran and Isfahan are amongst the highly prized ones for collectors. The amazing 3D spatial arrangement of the rug, the wonderful pictorial depictions, make this rug highly collectable and with good present and future value.
8.Kurdish Bidjar Rug
Origin : North West Iran, In and around the town of Bidjar . This area is populated mainly by Kurds. Most likely a village.
Size : 193cmx 133cm
Structure : Woollen pile on cotton foundation
Circa : Within first 2 decades of 1900s
Condition :Good. Age related fading of dye at borders which adds to the natural patina of the rug.Repaired at one end of fringe. Repair was well executed.
About the rug : These Kurdish bidjar rugs are heavy rugs are are often termed Iron rugs. This is primarily due to the fact that a third heavy weft cord is added, and after the weaver has tied a row of knots, she pounds them to compress them, hence producing a stiffer rug. I have added a picture in the gallery to show that this rug literally cannot be folded over.Also as a point of interest, Bidjar rugs made before 1900, will have a woollen foundation.The field consists of repeated (Mahi) herati patterns on a black dyed field. A Herati pattern can best be described as a centred flower within a diamond, with sickle shaped leaves on the outside of the diamond on four sides. In this rug the sickle shape leaves also have a resemblance to fish, hence the term fish pattern. When 2 or more flowers are connected by the diamond pattern, as seen in this rug, the term Mina Khani is used to further describe the pattern. The best examples of these rugs contain abrash or tonal changes within dye. These are preferred by collectors. In this rug the tonal changes of the black dye are evident. The thicker border of this rug is dominated by palmettes. Palmettes are based on the Lotus flower and spread leaves. This border is flanked by a beautiful blue thinner border on both sides.This rug contains many colours inclusive of black, terracotta, blue, cyan, ivory and madder based red.
9.Lattice Patterned Kayseri Rug
Origin : Central Turkey, Town of Kayseri
Size : 167 cm x 105 cm
Structure : wool on a cotton foundation
Circa : Approximately 1910 – 1920
Condition : Good condition. Age related wear down of pile. Dyes are still vibrantly coloured.
About the Rug : Rugs from this region are traditionally thin since the pile is usually kept short. The design of the field is an all over lattice pattern. The lattice designed Kayseri rugs are reasonably rare to find. Early versions of this pattern are curvilinear, as seen in this rug. Later versions have a diamond or hexagon pattern. Beautiful floral patterns fill the cells of the lattice and every cell has a unique floral pattern. The field within the cells are exquisitely coloured and for me, the turquoise seems to stand out. The deep blue thicker border is woven with an arabesque pattern, punctuated at intervals by floral filled stars.
10. Kerman rug with French design influence
Origin : Kerman Province, Iran
Size : 360cm x 268cm
Structure : Wool on a cotton foundation
Circa : around 1950
Condition : A professional cleaning is needed and a few small tears along edges which are not really noticeable. This along with the uneven fading of the dye, due to sun exposure, would put this rug into the trending “shabby chic” category. I imagine this rug to have adorned the floor of a grand old mansion that hosted many parties upon it.
About the rug : Radiating outward from a brilliantly striking blue central medallion are detached finely and elegantly woven floral sprays of varying shades of blue and red which are peppered with green leaves , also of varying hues. These colours stand out amidst the ivory background of this rug. The edge of the carpet is framed by an elaborate design, comprising palmettes, flowers and small arches or mihrabs. Colours at the border range from the madder red to pinks and striking blue.
After world war 2, the American market tended more towards open field rugs, rather than traditional Kerman designs. For a period thereafter rugs were manufactured using drawings that French designers sent to Kerman. This domination of French design is termed the Gublin era and pastel colours, as seen in this beautiful rug above, were woven to appease the US market. This trend did not last long as it conflicted with the traditional Kerman designs.
This weathered rug, with its worn in charm would not seem out of place in a grand room or area like a billiards room, a trendy sitting area or even a wine cellar.
11. Silk paisley or Boteh patterned Kerman rug
Origin : Kerman province, possibly the village of Laver, Iran
Size : 160cm x 107 cm
Structure : Silk pile on a silk foundation
Circa : I am unsure of the date, possibly antique or vintage.
Condition : There are no signs of wear and thus has an even pile. There is however a small tear (as opposed to a hole) in the middle of the rug. The colours are still vivid with no signs of fading. The selvedges are fully intact, with no fraying. The silk fringes have been slightly trimmed on one end and at the other, there are some missing fringes. Thankfully the ends remain intact.
About the rug :Silk Kerman rugs are extremely rare to find in the market place. This silk paisley or all over boteh patterned rug, is woven in colours of indigo , madder red and ivory. The ivory tends towards a more golden colour. The boteh in this rug is made up of tiny red floral patterns and the overall shape of the figure is made up of the negative blue space. There are many types of boteh patterns ranging from a simple leaf pattern to more geometricised versions and are thought to represent a leaf, bush, flame or pine cone. For more information of the boteh pattern and interpretation, please refer back to the cypress tree rug, in the gallery. The paisley pattern in this rug, is referred to as a hooked boteh due to the excessive curve at the narrow end of the figure. The hooked boteh pattern is associated with India where it is called buta. The boteh design itself is thought to be of Kashmiri origin.
The carpet weaving craft of Kerman developed from a variety of influences, one being the shawl industry in the region. Literature shows that the paisley or boteh pattern on shawls was considered fashionable between the years 1780 to 1880 and again had a reprisal in the 1960’s. The latter nineteenth century is considered the period when the rug weaving industry started with gusto in Kerman. As a point of interest the boteh patterned scarves were considered fashionable during the reign of the Mughul emperor Akbar in the 1400’s. He wore 2 scarves at a time as a mark of status. This rug, therefore, serves as a good example of the influence of the shawl industry on the creative rug design of Kerman.
Further rugs to be added to the gallery in the next few weeks. Please visit again soon.
And more…