Oushak, West Anatolia

Overall measurements; 157cm across the top, 158cm across the bottom, 226cm the left hand side, 235cm the right hand side Mounted, mount 242 by 163cm. Pieced and joined, comprising three main sections, the upper section measuring approximately 20cm depth, the middle section measuring approximately 183cm in depth, the lower section measuring approximately 23cm in depth; the lower piece section is comprised of four sections, to the left one rectangular piece section measuring 24 by 14cm and to the right, two further joined sections, each measuring 18 by 10 cm and 18 by 8cm. Pile overall varies from 1mm down to knotbars and foundation. Some areas of wear, most noticeably to the centre of the medallion and other scattered areas. There are some repairs to the centre right in the blue ground, one measuring 7 by 8cm, the other 7 by 7cm. There are other minor areas of scattered repair. First hand inspection is advised, photographs can be requested from the department. Elegant drawing, good range of colours including rose pink, jade green, saffron yellow, red, two shades of blue and walnut.
"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."

Medallion Oushak carpets are perhaps the best known of the group; often bought by European nobleman and churches they have been well documented in European paintings between the 16^th - 18^th century. In 1983 Julian Raby suggested that the design derives from 15^th century Ottoman and Persian manuscripts, Suriano. C.M., ‘Oak leaves and Arabesques’, Hali, May/June 2001, issue 116. Raby traces the origins of the design to Mehmet II (1432 – 1481) where the ‘broad oak leaf’ was adopted for the medallion, a variation of this design can be seen in the 16^th century Iznik tile within this sale, lot 17, and in the Sultan Ahmet mosque, Istanbul, Bilgi. H., The Ömer Koç Iznik Collection, Istanbul 2015, pp. 46 & 47, fig. 11. Further comparison can be seen in an Iznik dish, within the Koç collection, which exemplifies the relationship between Ottoman ceramics and this group, Bilgi, ibid, pp. 306 – 309. 

Three possible reasons for the design are suggested by Friedrich spuhler. One they denoted the positioning of a nobleman’s throne. Another the carpet would be centred beneath the dome of a mosque so that the light would fall onto the medallion. The third that the 'lotus' medallion is a metaphor for Buddha and enlightenment. For further information on the group see Sphuler. F., The Thyssen-Bornemisza Collection of Carpets and Textiles, London, 1998, pp. 44 – 51. This carpet fragment, which lacks the border and part of the field, is indicative of an earlier example of the group; in keeping with Spuhler’s theory  'the medallion is always a slightly ogival form: the earlier the design, the more precisely it depicts a circle' Sphuler. F., op cit, p. 46. Also in the use of colouring 'The best quality medallion Oushak carpets … 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. … Deep red, dark blue and yellow are the predominant colours; green and blue appear as secondary colours and black is used on the contours.' Oktay. A., One Thousand Years of Turkish Carpets, Istanbul, 1998, p.107.

Two medallion carpets which share such a colour scheme; the first is in the MAK collection, Vienna, Völker. A., Die orientalischen Knüpfteppiche im MAK, Vienna, 2001, pp 78 – 81, cat no. 14 and the other is in the Victoria and Albert Museum collection, museum number T.71-1914. The MAK example has a further similarity in the yellow tracery of the central quatrefoil blossom and the detailing within the two pendants. The Victoria and Albert shares highly similar colour combination within the medallion.