Freeman's May 18th Oriental Rugs, Carpets & Textiles

Oriental Rugs, Carpets & Textiles

Freeman's May 18th auction of Oriental Rugs, Carpets & Textiles will include over 170 lots.

The sale features a very good selection of collectible rugs from Anatolia and the Caucasus, with most originating from a single private collection. Good Anatolian rugs  include lot 110, a fine Bergama rug, lot 112, an interesting West Anatolian rug from the Oushak region, lots 142 and 168, two additional fine, classic Bergama rugs, and lot 151, an early Northwest Anatolian rug from the Bergama region. Interesting Caucasian rugs include lot 139, a fine Kasim Ushag rug, lot 149, an unusual Konagkend Kuba runner, lot 156, a cruciform medallion design Shirvan, dated and probably of Armenian origin, Kazak rugs, including lots 159 and 165, a good Shirvan prayer rug, lot 161 as well as a Shirvan overall design rug with a Zejwa variant design, lot 161A, and a good Seychour long rug, lot 170.

A commendable selection of early Chinese rugs is also featured in this sale. All originating with one estate, these rugs, lots 79 through 84 include a number of early Ningshia rugs.

There are a number of fine Turkoman rugs in this auction, including lot 133, a Saryk ensi, lot 134, an early six-gul Tekke torba and a number of other pieces, including main carpets, an asmalyk and chuvals.

An 18th century Aubusson panel, lot 7A, a good Resht embroidered panel from Northwest Persia, lot 21, and an early Ottoman silk and metal embroidered panel, lot 22, along with an assorted group of Navajo weavings and Kashmir/Paisley shawls round out the textile portion of the auction.

A good number of decorative Persian and Indian carpets are featured in this sale, including a fine selection of Laver Kerman carpets, such as lots 167 and 171, good Heriz carpets, including lots 141 and 150, Bakshaish carpets, lots 55 and 155, a Senneh carpet, lot 152, with 'Jerrehian Brothers, Philadelphia' label, and two very attractive, oversize carpets from the Mahal region: lot 174, a Ziegler Mahal, and lot 175, a nearly square-size format Sultanabad. Also featured amongst the offerings of decorative carpets in this sale is a great selection of modern carpets, including Agra and Oushak carpets that are woven in the style of antique carpets. These are very attractively estimated, with particular appeal to both the decorator and individual as good furnishing pieces.

For inquiries and high resolution photos please contact:

David Weiss
Tel: 267.414.1214
Email: dweiss@freemansauction.com

Richard Cervantes
Tel: 267.414.1219
Email: rcervantes@freemansauction.com

Turkotek: When a Bleach Job Goes Bad

Turkotek: When a Bleach Job Goes Bad

On Turkotek I saw this amazing rug on display. The owner wrote,

"I don’t know why I bought this battered and slightly mysterious piece. I don’t really collect Baluch pieces but this little piece spoke to me. "

So using my super psychic skills I was able to hear what this rug was trying to say. Quite clearly what the rug was saying was, 

"Help I have been over bleached and I am suffering from chemical burns and discoloration."

Another poster added a similar piece:

This actually reminds me of a Tom Cole rug. Sistani  Baluch  with that distinctive green that shows up in so many of Tom's Baluch Rugs.  Someone tried to doctor this piece to add some age to it and the bleach job went bad.

 

James Mellaart Obituary - The Telegraph

James Mellaart

James Mellaart, who has died aged 86, ranked among the most controversial archaeologists of the 20th century after claiming to have uncovered priceless royal artefacts plundered from Dorak, near the ancient city of Troy, which he said had been missing since the site was first excavated in the 1920s.

6:28PM BST 03 Aug 2012

He later played a prominent part in the discovery and excavation of the world’s oldest known cities at Hacilar and Çatal Hüyük in Turkey. These Neolithic settlements contained not only the earliest textiles and pottery known to man but also the earliest paintings found on walls (as distinct from caves).

James Mellaart

While there was no doubt about the importance of these finds, some 20 years later, in the 1980s, Mellaart attracted further controversy by attempting to pass off watercolours he had made as representations of other, poorly preserved frescoes supposedly found at Çatal Hüyük. Mellaart explained that the original murals had proved impossible to remove or preserve. They were damaged, he said, and been impossible to photograph before they crumbled to plaster dust. Indeed, the only evidence of their existence were hurried sketches made by Mellaart and not released to public examination until 1989, when they only added to the debate.

There was no independent way of testing the accuracy, even the existence, of these frescoes, which Mellaart said depicted erupting volcanoes, scenes of men sowing and tending livestock (the earliest evidence of the domestication of cattle), and formalised patterns of animals, birds and human figures in which Mellaart detected the origins of the Turkish kilim.

If his work at Hacilar and Çatal Hüyük proved contentious, however, it was as nothing to the mysterious, faintly sinister, Dorak affair, which dogged Mellaart’s career.

In 1959 he had astounded historians of the ancient world by claiming that he had been shown a hoard of treasure — gold and silver bracelets, jewellery and a fabulous collection of bronze and silver figurines — that had been illegally dug up at Dorak during the Turko-Greek war (1919-1922) from two royal tombs of the Yortans, neighbours of the Trojans.

Among the treasures, he said, were fragments of a gold sheet adorned with Egyptian hieroglyphics bearing the name of Pharaoh Sahure (believed to have ruled between 2487 and 2473 BC). There was also what he described as a “silver sword of state”, decorated with seagoing ships. From these pieces Mellaart deduced that a major seafaring nation existed in northwest Anatolia, adjacent to Troy, around the time of the Egyptians — possibly the Biblical “Sea People” .

The circumstances of Mellaart’s disputed discovery of these treasures were, in their way, no less remarkable. In 1958 he had been travelling by train to Izmir (the ancient city of Smyrna) when, as recounted by the British traveller and journalist Lord Kinross, “he picked up, or was picked up by, an attractive girl wearing a gold bracelet of a type that had been found only at Troy”.

Responding with “a nose for a site that amounts to genius,” Mellaart told the young woman he was an archaeologist, and was invited to her home. There he found a trove of similar objects taken from ancient tombs at Dorak. Although having no camera, and forbidden by his new acquaintance from hiring a photographer, Mellaart spent four days sketching the objects and taking rubbings.

But when his findings were published by the Illustrated London News, a Turkish newspaper accused Mellaart of having robbed the tombs himself and smuggled the treasure out. Despite Mellaart’s protestations of innocence, a search for the young woman proved fruitless. The name she had given – Anna Papastrati – turned out to be unknown and her address did not exist. A letter he produced that contained her name appeared on examination to have been typed by Mellaart’s Turkish-born wife Arlette.

British journalists believed Mellaart’s story, however, and cast him as the victim of unfounded Turkish suspicions that Mellaart had been involved in the antiquities black market.

The Turkish secret police compiled a dossier on him, and after three years of clamour in the Turkish press about the smuggling of artefacts abroad — some objects apparently from Mellaart’s sites had turned up outside Turkey — the authorities in Ankara announced that Mellaart was part of a plot to smuggle £48 million-worth of Dorak “national treasures” out of Turkey.

Although a criminal case against him was dropped in a general amnesty in 1965, Turkey’s Department of Antiquities cancelled Mellaart’s permit to dig.

Some experts have suggested that the mysterious girl was a honeytrap working for a gang of dealers seeking authentication for their treasure from a respected archaeologist before selling it to a wealthy collector. Mellaart, who stoutly maintained the truth of his story, was inclined to agree. Another theory held that while the Dorak treasure did exist in whole or in part, Anna Papastrati did not.

In 2005 the Scottish archaeologist Professor David Stronach, who conducted excavations with Mellaart at Hacilar, was quoted by an American journalist, Suzan Mazur, as saying that Mellaart had invented the whole story, calling it a “dreamlike episode”. But as another American, the author Michael Balter, noted after investigating the Dorak affair: “Unless the treasure shows up one day, the mystery is likely to remain unsolved.”

James Mellaart was born on November 14 1925 in London. His Dutch immigrant father, descended from Scottish migrants called Maclarty (a division of the Clan Macdonald), was an expert in Dutch Old Master paintings and drawings.

When Jimmy was six, the family moved to Holland following a downturn in the art market. When he was 11 an uncle gave him a book on ancient Egypt. He was spellbound; as a teenager he taught himself Ancient Egyptian, followed by Ancient Greek and Latin.

At the outbreak of war he was drafted to serve in the slave labour force of the occupying Nazis. But his father managed to secure him a job in the National Museum of Antiquities at Leiden which, as James recalled, “kept me out of German hands”. Surrounded by archaeological finds from around the world Mellaart sealed his fascination with antiquities. In 1947 he became a student of Ancient History and Egyptology at University College, London, graduating in 1951.

Even as a boy he seemed to have had an sixth-sense for ancient remains: he found an Iron Age brooch on a seemingly barren hill fort in Herefordshire, and, on a trip to Cyprus, a hoard of Mycenaean bronze. In what was then Palestine, he was sent out one morning into the Biblical city of Jericho to look for tombs by the archaeologist Kathleen Kenyon, a pupil of the celebrated Sir Mortimer Wheeler. Mellaart returned at lunchtime to say he had found one, intact.

When Kenyon left for the weekend, having dug down to what she believed was the extremity of the bedrock outside the city’s famous walls, Mellaart rashly seized the opportunity to dig down further still. On her return, Mellaart explained that he knew they could dig no further because instead of pottery fragments he had found fish fossils.

This (as one enthusiastic account put it) was the moment “when modern man took over from his cave-dwelling ancestors, the moment when he turned from hunting and gathering to agriculture.”

Appointed assistant director of the British Institute of Archaeology in Ankara, Mellaart helped to direct excavations on Turkish archaeological sites , leading his first dig at Hacilar (1957–60) before turning his attention to Çatal Hüyük (1961-63). There, with almost the first slice of the spade, he discovered the ruins of a Neolithic city. Under a huge mound 20 metres high, 13 layers of habitation were revealed that dated back 9,000 years and housed up to 10,000 people.

Inside the mud brick houses and shrines – so densely packed that they had no front doors but were entered through the roof – Mellaart and his team found bull’s heads, skeletons, mirrors of black obsidian and plaster reliefs, as well as the wall paintings that would prove so contentious.

Mellaart’s triumph at Çatal Hüyük earned him both academic and popular acclaim, and his book Çatal Hüyük, a Neolithic Town in Anatolia (1967) became an classic.

He was for two years a lecturer at Istanbul University, but as pressure against him mounted in Turkey he left, in 1964, to take an appointment to lecture in Anatolian archaeology at the University of London, where he remained until 1991.

Considered charming but naive — “an innocent duped” was one authoritative verdict — Mellaart remained sanguine about his notoriety, which he ascribed to the rivalry and jealousies besetting the archaeological world. “As for all the unpleasantness, I’ll just say this: honi soit qui mal y pense.”

Mellaart was the author of several books, as well as chapters in Cambridge Ancient History (1964) and numerous scholarly articles in Anatolian Studies and other learned and specialist journals.

He was elected a Fellow of the British Academy in 1980.

He married, in 1954, Arlette Meryem Cenani, with whom he had a son.

James Mellaart, born November 14 1925, died July 29 2012

Baloch rebels kill Pakistani professor

Baloch rebels kill Pakistani professor

Thu Apr 29, 2010 5:42AM

A female professor at Pakistan's Balochistan University in Quetta has been killed in a drive-by shooting while travelling in a rickshaw.

Local police said gunmen shot assistant professor of mass communication Nazima Talib, 50, in Pakistan's troubled province of Balochistan on Tuesday. 

Baloch Liberation Army claimed responsibility for the murder, declaring that the attack was in retaliation for the killing of two Baloch women in Quetta and Pasni as well as the torture of female political workers in Mand and Tump. 

Balochistan is Pakistan's poorest and most neglected province, where armed Baloch rebels carry out acts of terrorism with the aim of achieving greater autonomy inside the country. 

Antique Turkmen Rugs

Antique Turkmen Rugs

As a group we now call them Turkmen Rugs. The old name in common usage was Turkoman Rugs but the trend today is to drop Turkoman rugs in favor of Turkmen rugs because Turkmen is the accepted English translation of the name of the people and their language. Earlier the rugs were called Bukhara or Afghan rugs.
When we wish to identify ethnicity political or geographic names are so fleeting as to be meaningless. Recently one national appraisal exam listed the correct answer for all Turkmen rugs as Russian. Obvious this is so maningtless as to be ludicrous. A number of years ago Dr. Jon Thompson was highly influential in the move to language names. It gives us a meaningful framework in which to understand the ruigs so following Thompson I use the language names for the rugs.
Therefore Turkmen rug because the weavers are Turkmen who speak one of the dialects of the Turkmen language. When in doubt we can categorize people by their "milk" language. If a woman's primary language is the Teke/Tekke dialect of Turkmen then we call her a Teke/Tekke Turkmen and if she weaves a rug then it is a Tekke Turkmen Rug. It would be more correct to say Teke Rugs but Tekke rugs is accepted in the rug dealer/collector community. Interestingly the rugs generally fall into groups that correspond to language. This has caused me to come to the conclusion that weaving is an unspoken language.
Turkmen as a language is a branch of the Ohguz language. Ohguz is made up of Turkmen, Northern Azeri and Southern Azeri. From Turkey to the Caucasus, Iran, and Central Asia a huge portion of the 'tribal" rugs are woven by weavers who are ethnically part of the Ohguz group.

Please see: Oguz versus Turkic/Southern a Linguistic Reassessment of the Turkish Languages .

Design Influences in Kerman/Kirman Antique Rugs

In my  Persian Rugs: Guide to Kerman Rugs  I reflected on the design influences on the rugs of Kerman/Kirman Antique Rugs

Portrait of Qajar Prince

"ex nihilo nihil fit" In theology we use the expression "ex nihilo nihil fit" which basically means "Nothing comes from nothing". In art the same applies. That which comes before influences that which is. I was struck by the importance of Kermani coats in Qajar society so I will group them here to look for design relationships with antique Kerman rugs.Also note the rug on the floor and the fresh flowers. Portrait of Prince Ardashir Mirza by Abu'l Hasan Ghaffari / Sani' al-Mulk d. 1852-53AD Portraitof Prince Imam Verdi Mirza in Kirman coat Second Half 19th C

Antique Serapi Heriz Persian Carpet

Antique Serapi Heriz Persian Carpet

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Antique Serapi Heriz Persian Rug from Herat Oriental's Oriental Rug warehouse in Alexandria, Va. Zia is a wholesale Importer of new and antique Persian and Oriental Rugs.