An Azerbaijan 'In and Out Palmette' design carpet, 18th century,

The design of this carpet developed from the 'in-and-out palmette' pattern of 17th century Central Persian carpets, with blossom palmettes with vertical and horizontal orientation and a secondary design of dense smaller blossoms and vine trellis; a version including stylised split arabesque leaves is known as the Harshang design and is seen in carpets  through the 18th century and into the 19th century, from Kurdistan and Northwest Persia across to Eastern Persia, and in the Caucasus. An example in the Textile Museum of an 'in-and-out palmette' rug, with cloudbands, (Acc. No. R36.2.6) is published in Ellis, Charles Grant, Early Caucasian Rugs, Washington 1975, pl. 37 (attributed to Karabagh and dated to the early 19th century by Ellis).

Naim Attallah CBE (1931 – 1921), was born in the British Mandate of Palestine, and came to London in 1949, initially to study engineering, but in his long career moved from currency dealer to company director, racehorse-owner, film and theatre impresario (producing ‘The Slipper and the Rose in 1976), parfumier and chocolate-maker, and (for which he is perhaps best remembered) publisher and magazine proprietor, and as described in the Guardian in 2000 a "legendary adorer of beautiful women". In the early 1970’s he met John Asprey, and became joint managing director and ultimately chief executive of the eponymous luxury goods group, vastly expanding its turnover. He also acquired Quartet Books (1976), The Women’s Press (1977) and several magazines, including the Wire, the Oldie and the Literary Review; he was appointed Commander of the Order of the British Empire (CBE) in the 2017 New Year Honours List for services to literature and the arts. 

Amongst Attallah’s many collecting passions, rugs was one of the most dear to him, covering the walls, beds and floors of his Mayfair apartment. His son recollects visits with his father to see Jean Lefevre, in Knightsbridge  during the early 1970’s, remembering them as very good friends, and the source for most of the pieces his father bought. Attallah was known for wearing vivid coloured odd socks and iridescent silk linings to his jackets; his son recalls it was the love of colour in the carpets that his father had most enjoyed about living with them, over the intervening four decades since his collection was formed.