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Lot Essay
The knot count measures approximately 10V x 8H knots per cm. sq.
Extensively signed by Hagop Kapoudjian, this rug is typical of his work. While its design does not look to a single classical rug for inspiration, it combines elements from different examples which were published in the early 20th century. One of the sources of inspiration may have been the early Persian carpet in the Museum für Islamiche Kunst in Berlin (acc.no. I.1534, published Volkmar Gantzhorn, Oriental Carpets, Cologne, 1998, p.381, no.516). Hagop may also have drawn inspiration from a Mughal example which had also been based on a Safavid original. A carpet in the Metropolitan Museum of Art in New York has a similar lattice design, upon which the Safavid split-palmettes have metamorphosed into saz leaves, within a cartouche border. Like ours, that example has cloudbands in the border around the cartouches. Both carpets are published in Sarre and Trenkwald’s Altorientische Teppiche, Vienna, 1926, pl.11 and 56.
The willingness to innovate and experiment with classical designs is indicative of Hagop's growing confidence as a designer. He also left his mark with additional details which find no precedent on historic carpets: in particular, the small cartouches in the border feature realistically-drawn songbirds, which seem to belong more to the world of 20th century prints than 16th century weaving. It is perhaps because of this increasingly active design role, which involved not only copying historic designs but creatively combining them, that Hagop began signing his works. The border design appears in a cartoon which was also formerly in the George Farrow collection, sold in these Rooms, 25 April 2024, lot 181.
This rug is very similar to another example in the George Farrow collection which was sold in these Rooms, 25 April 2024, lot 183. The only significant points of difference are that that example had a mauve-purple field and metal-thread highlights, whereas ours has a red field and is entirely woven in silk.
Extensively signed by Hagop Kapoudjian, this rug is typical of his work. While its design does not look to a single classical rug for inspiration, it combines elements from different examples which were published in the early 20th century. One of the sources of inspiration may have been the early Persian carpet in the Museum für Islamiche Kunst in Berlin (acc.no. I.1534, published Volkmar Gantzhorn, Oriental Carpets, Cologne, 1998, p.381, no.516). Hagop may also have drawn inspiration from a Mughal example which had also been based on a Safavid original. A carpet in the Metropolitan Museum of Art in New York has a similar lattice design, upon which the Safavid split-palmettes have metamorphosed into saz leaves, within a cartouche border. Like ours, that example has cloudbands in the border around the cartouches. Both carpets are published in Sarre and Trenkwald’s Altorientische Teppiche, Vienna, 1926, pl.11 and 56.
The willingness to innovate and experiment with classical designs is indicative of Hagop's growing confidence as a designer. He also left his mark with additional details which find no precedent on historic carpets: in particular, the small cartouches in the border feature realistically-drawn songbirds, which seem to belong more to the world of 20th century prints than 16th century weaving. It is perhaps because of this increasingly active design role, which involved not only copying historic designs but creatively combining them, that Hagop began signing his works. The border design appears in a cartoon which was also formerly in the George Farrow collection, sold in these Rooms, 25 April 2024, lot 181.
This rug is very similar to another example in the George Farrow collection which was sold in these Rooms, 25 April 2024, lot 183. The only significant points of difference are that that example had a mauve-purple field and metal-thread highlights, whereas ours has a red field and is entirely woven in silk.