A Mughul voided velvet and metal-thread dais cover, India

By repute, formerly in the Benguiat Collection
Collezione Almagià, Florence

Border comprised of four sections with angled joins in each corner. Main field is one panel. Silk pile fair. Light salmon pile in field and some of apricot pile in borders generally with some oxidation and foundation visible in areas particularly outer guards. Dark brown entirely oxidised to foundation. Silver metal thread foundation with some losses, especially in the corners and far edges. Old fold wear vertically through centre from end to end, and horizontally through centre. Claret and cerise coloured motif largely with even pile, as are the cerise and green motifs in the central field. Old linen lining.
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Technical Analysis:

Pile: Cut silk velvet: Ivory, lemon yellow (faded), peach, crimson, blue-green, walnut (entirely corroded) (6)
Field ground: Ivory silk core wrapped silver metal thread, twill bound coral facing wefts
Border ground: Ivory silk core wrapped silver metal thread, twill bound ivory facing wefts
Field and border woven separately
Field width: 71cm., 28in., complete loom width
Border width: 7cm., 10in., complete loom width
Border: Mitred corners
Selvedges: both field and border with aquamarine flat silk selvedges mostly extant at all sides and ends
Ends: Upper and lower end with attached polychrome tablet braid
Linen lined and backed

For further information on this technique, see von Folsach, Kjeld and Keblow Bernsted, Anne-Marie, Woven Treasure - Textile from the World of Islam, Copenhagen, 1993, pp.81-86

The art of Safavid Persia was so appreciated at the 16th century Mughal court that Emperor Akbar (r.1556-1605) established workshops in India employing Persian craftsmen. Early production re-enterpreted Persian models using an purely Indian aesthetic. The classical palmette, flowerhead and serrated leaf lattice employed here is also seen on Safavid weaving, for Persian examples see: Spuhler, Friedrich, Islamic Carpets and Textiles in the Keir Collection, London, 1978, Nos.97,99 and 100. Related 17th century Mogul carpets and textiles include a fragment in the David Collection, Copenhagen, see: Woven Treasures (ibid.), Cat.No.50; a silk coverlet published in Herrmann, Eberhart, Asiatische Teppich-und Textilkunst, V. III, Munich, 1991, pl.69 and a velvet in the Keir Collection, see: Keir (ibid.), pp. 200 and 211, No.120.

This carpet is unusual for the attenuated bi-coloured arabesque leaves of the main field, similar to those displayed on a carpet published by Dimand, M.S. and Mailey, Jean, Oriental Rugs in the Metropolitan Museum of Art, New York, 1973, p.148, fig.129, which create an elegant lattice evocative of Safavid 'Polonaise' production, see Pope, A. U., A survey of Persian Art, Oxford, 1938, pl.1247 for a comparison.

The border with its alternate linked 'S' and 'Z' vine scrolls issuing palmettes and leaves is reminiscent of the border of a pashmina carpet fragment from North India, dated circa 1650, in the Metropolitan Museum of Art, New York, No.14.40.719, reproduced in Walker, Daniel, Flowers Underfoot: Indian Carpets of the Mughal Era, New York, 1998, pp.82-3, figs.78 and 79. and that of a complete carpet in the same exhibition, see: Flowers (ibid.), fig.104. Such borders were generally made from a single loom width, cut and mitred together to frame the main body of the carpet.  Other examples with the mitred borders include Herrmann, (ibid.), pl.69 and Keir (ibid.), p.202-3, No.123.

The overall effect is airy and uncluttered yet sumptuous, with crisp, clear drawing, the simplicity of design embellished by the luxuriance of velvet and lavishness of silver thread.