- 357
An Oushak "Medallion" carpet, West Anatolia,
Estimate
30,000 - 50,000 GBP
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Description
- An Oushak "Medallion" carpet
- approximately 470 by 262cm., 15ft. 5in. by 8ft. 7in.
Amongst Oushak carpets, the 'Medallion' design is perhaps the best known: like the 'Star' Oushaks, the 'Medallion' Oushaks form a distinct group of West Anatolian carpets, usually somewhat larger than the 'Star' group. They are well documented in European, particularly Spanish and Flemish paintings from as early as 1570 to the second half of the 17th century, often appearing in the 18th century; confirmation that they were exported from Turkey in considerable numbers during this period. Many were also found in Italian, Spanish and Portuguese churches.
During this long period of production the design and colours suffered few modifications, with only gradual deterioration. Based on a large repeating pattern, and influenced by Persian manuscript art, the design usually has a large central pointed oval medallion, with a different repeated medallion appearing in section at the edge of the field. Influence can also be seen to stem from the Persian medallion carpets, with their floral repertory. In the present example the sections of secondary medallion appear only at the corners.
It is suggested that the design of the large Oushak carpets, dates from the end of the reign of Mehmet II, 'the conqueror' (1441-81), when he transferred his court to the new palace in Istanbul, the future Topkapi Palace (Yetkin,Serare, Historical Turkish Carpets, Istanbul, 1981). The town of Oushak was probably chosen because of its existing active workshops.
"The best quality medallion Oushak carpets which were produced in quantity until the middle of the 18th century are the ones with yellow floral designs on a dark blue ground and with rich red and blue medallions. The ones with a red background always have dark blue medallions and are of higher quality. They are usually made of wool, but sometimes cotton is also used. Deep red, dark blue and yellow are the predominant colours; green and blue appear as secondary colours and black is used on the contours. Amazingly magnificent decorations were achieved using these three primary and two supplementary colours." Oktay Aslanapa, One Thousand Years of Turkish Carpets, Istanbul, 1998, p.107.
For a comparable example of a similar inner layout on a 17th century Oushak 'Medallion' carpet please see Ferenc, Batári, Ottoman Turkish Carpets, Budapest 1994, pl.35. For an example with similar central medallion patterns please refer to pl.36 ibid and Aslanapa, op.cit., pl.82. For an example of similar secondary medallions and inner layout refer to pl.83 ibid. Iten-Maritz, J., Turkish Carpets, New York, 1997 p.167 shows an example of a similar internal medallion, colouration and main border pattern.
The present example is in a remarkable state of preservation for its age and the colours are still fresh and vibrant. It illustrates perfectly the magnificent effect described by Aslanapa, which the Oushak weavers were able to achieve using their concise palette.
During this long period of production the design and colours suffered few modifications, with only gradual deterioration. Based on a large repeating pattern, and influenced by Persian manuscript art, the design usually has a large central pointed oval medallion, with a different repeated medallion appearing in section at the edge of the field. Influence can also be seen to stem from the Persian medallion carpets, with their floral repertory. In the present example the sections of secondary medallion appear only at the corners.
It is suggested that the design of the large Oushak carpets, dates from the end of the reign of Mehmet II, 'the conqueror' (1441-81), when he transferred his court to the new palace in Istanbul, the future Topkapi Palace (Yetkin,Serare, Historical Turkish Carpets, Istanbul, 1981). The town of Oushak was probably chosen because of its existing active workshops.
"The best quality medallion Oushak carpets which were produced in quantity until the middle of the 18th century are the ones with yellow floral designs on a dark blue ground and with rich red and blue medallions. The ones with a red background always have dark blue medallions and are of higher quality. They are usually made of wool, but sometimes cotton is also used. Deep red, dark blue and yellow are the predominant colours; green and blue appear as secondary colours and black is used on the contours. Amazingly magnificent decorations were achieved using these three primary and two supplementary colours." Oktay Aslanapa, One Thousand Years of Turkish Carpets, Istanbul, 1998, p.107.
For a comparable example of a similar inner layout on a 17th century Oushak 'Medallion' carpet please see Ferenc, Batári, Ottoman Turkish Carpets, Budapest 1994, pl.35. For an example with similar central medallion patterns please refer to pl.36 ibid and Aslanapa, op.cit., pl.82. For an example of similar secondary medallions and inner layout refer to pl.83 ibid. Iten-Maritz, J., Turkish Carpets, New York, 1997 p.167 shows an example of a similar internal medallion, colouration and main border pattern.
The present example is in a remarkable state of preservation for its age and the colours are still fresh and vibrant. It illustrates perfectly the magnificent effect described by Aslanapa, which the Oushak weavers were able to achieve using their concise palette.
Condition
Pile: generally good with closely sheared 2mm in colors with dark browns and greens oxidised to knotheads and some spots showing foundation---most visible in arabesques of central medallion and in 4 flanking half medallions. Some old Kashmir repiling to browns---not extensive.
Original 5 cord blue-green wool selvages with some losses and fraying.
Unusual original kilim ends with applied zig-zag ribbon decoration.
Linen bands sewn to reverse of both ends.
Flexible handle, sound fabric, very good saturated color, and good overall condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."