79

Daghestan Prayer Rug, Northeast Caucasus, third quarter 19th century

4 ft. 5 in. x 3 ft. 8 in.

  • Provenance: Grogan & Company, Boston, Massachusetts, 26 October 1996, Lot 254.
  • Exhibited: Denver Art Museum, Colorado, 14 May - 26 July 1998.
  • Literature:
    - Sotheby's New York. New York, 11 February 1984, Lot 74.
    - Kaffel, Ralph. Caucasian Prayer Rugs. Laurence King in association with Hali: London, 1998, pl. 57.
  • Notes: [ Caucasian Prayer Rugs caption]
    Striped designs were employed on prayer rugs throughout the Caucasus region, with the possible exception of the Kazak weaving area. Various configurations are used, including vertical stripes, diagonal stripes and chevron bands. Other examples of striped rugs can be seen in plates 27, 28, 34, 40, 72, 73, and 87. This rug is of a somewhat unusual design, with its riot of colours (a total of 15 are used) and the alternating pattern of boteh and quartered diamonds within the bands. The field is filled with 25 polychrome vertical bands, while in the spandrels narrower bands, on a diagonal bias, are employed.

    [Ralph's commentary] A slightly smaller but otherwise virtually identical rug is illustrated as plate 110 in Bennett, Oriental Rugs, Vol. 1: Caucasian. The two pieces are so similar that they may well have been woven as a pair; they are almost certainly the work of the same weaver. Although Bennett's piece was placed in the Karabagh section of his book, he wrote that "I cannot help feeling that a more northeasterly attribution is likely." (Bennett's book was essentially an English commentary to an earlier German book by Doris Eder, and Bennett was committed to the prior attributions.) The main borders of both rugs, as well as the blue-black medachyl inner border, are typical of Daghestan, as are the technical features of this example.
  • Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.

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