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Lot Essay
The field design of symmetrical peony blossoms in offset rows with trailing leafy vinery is based on Chinese textile patterns. Used either as a solid overall pattern or as a background for a medallion and spandrels, slight variations are found in the coloration and shape of the peony blossom as well as the treatment of the vinery. The “Deroyan Peony and Leaf Dais Cover” carries a similar field design however, the main blossoms in that carpet are two-toned with a light camel center, (see M. Franses, Classical Chinese Carpets in Western Collections, London, 2002, pl. 9). A carpet with similar treatment of the vinery and solid indigo blossoms was sold at Christie’s London, 9 October 2006, lot 231.
The present carpet successfully juxtaposes geometric and floral designs in the main field while the border structure, and in particular the indigo meandering key-pattern central border, creates a sublime framework for the more significant field imagery. While the use of colour is limited, it is used to arresting effect and achieves a three-dimensional impression. As with Imperial Wanli carpets, a red dye was originally used in this carpet as a background colour but has now turned to a soft camel hue. The Kelekian 'Lotus' gallery carpet from the König collection, (lot 151 in the present sale), displays a similar floral pattern but with the inclusion of lotus flowers rather than peonies which have indigo petals outlined in light blue and ivory for greater definition.
The Textile Museum, Washington D.C, has an early 19th century carpet that displays a similar field design and swastika and interlocking border distinctive of 17th/18th century patterns, (R.51.10). For other carpets with the overall pattern with flowerhead motifs, some with variation in the flowers depicted and not a repeat of the same flower, see M. Franses and H. König, Glanz der Himmelssöhne Kaiserliche Teppiche Aus China, Museum für Ostasiatische Kunst, Köln, 2005-2006, London 2005, Nos.10-19, pp.72-87. For a comparable Ningxia rug with similar overall floral pattern, circa 1700, see M. Tabibnia & T. Marchesi, (ed), Intrecci Cinesi, Antica Arte tessile XV-XIX secolo, Milan, 2011, no 10, pp.122-123, & no 11, pp.124-125.
The present carpet successfully juxtaposes geometric and floral designs in the main field while the border structure, and in particular the indigo meandering key-pattern central border, creates a sublime framework for the more significant field imagery. While the use of colour is limited, it is used to arresting effect and achieves a three-dimensional impression. As with Imperial Wanli carpets, a red dye was originally used in this carpet as a background colour but has now turned to a soft camel hue. The Kelekian 'Lotus' gallery carpet from the König collection, (lot 151 in the present sale), displays a similar floral pattern but with the inclusion of lotus flowers rather than peonies which have indigo petals outlined in light blue and ivory for greater definition.
The Textile Museum, Washington D.C, has an early 19th century carpet that displays a similar field design and swastika and interlocking border distinctive of 17th/18th century patterns, (R.51.10). For other carpets with the overall pattern with flowerhead motifs, some with variation in the flowers depicted and not a repeat of the same flower, see M. Franses and H. König, Glanz der Himmelssöhne Kaiserliche Teppiche Aus China, Museum für Ostasiatische Kunst, Köln, 2005-2006, London 2005, Nos.10-19, pp.72-87. For a comparable Ningxia rug with similar overall floral pattern, circa 1700, see M. Tabibnia & T. Marchesi, (ed), Intrecci Cinesi, Antica Arte tessile XV-XIX secolo, Milan, 2011, no 10, pp.122-123, & no 11, pp.124-125.