2653
1’-9” x 2’-7”

AGE & ORIGIN:
c. 1900
Persia

OVERVIEW:
While pockets of Afshar exist in different parts of Persia, the tribe is mostly known for their weavings having come out of the Kerman (Kirman) area of Southwest Persia.
Of these productions, the vast majority are tribal in nature, featuring the motifs and drawn in a way that designate them as such. However, it is of note that influence of the more aristocratic Persian designs will occasionally trickle-down to these Southwest Persian tribes, including the Afshar, who will sometimes make these representations clear through their rugs and bags; enter this bag face.
This is a formal, Afshar bag face. Drawing linework from more flowery designs of ‘city’ rugs (most likely being a ‘city’ piece itself from the evident cotton construction). In fact, one might draw design parallels to an Ahari Heriz or Tabriz, with the use of a very familiar central medallion and four spandrels. The precision in drawing of the curvilinear portions is impressive, in both the spandrels and the borders, yet what may be more impressive is the execution of this linework manages to be fluid, more alive, less stiff, which is something these formal types often have a hard time shaking.
The use of color is quite impressive as well. While the field displays this tangerine color, a look at the back reveals this to have been a mellowing, as this color, at one point, was a bit more red. A secondary copper color is used for some of the accents, bucking outlines between to the two similar tones in favor of a flowing color change.

It’s admittedly in an odd spot, as most who are interested in the Afshar and Southwest Persia are often drawn to the more tribal pieces. This bag offers something slightly different. A look at how a weaver of a particular tribe might opt for a completely different design and ultimately create something highly unusual (and beautiful) in the process, which does make me wonder if the piece might have been woven exclusively for personal use, however, this is just a guess, an neither adds nor detracts from the intrinsic beauty of the whole.

CONDITION:
Excellent with full, even pile; minor kilim loss. Edges have been rewound with new wool.

2602
4'-2" x 6'-10”

AGE & ORIGIN:
19th C.
Caucases

OVERVIEW:
There are a certain series of, especially Kazak rugs, that illuminate the craft of the village weaves but with attention to detail and exactness of something less folky.  Of the utmost quality with uniformity in their design, and the use of high quality materials including wool and dyes.

The dyes, in general on this piece and with the best Kazaks, are fantastic. Playful and bright, sort of a crayon-core palette, which is exceptionally clear within the harshang motif on the main border, given that the kaleidoscope of dyes is set against a light cream. All that being said, there is quite a lot of aubergine in the mix within the borders, the field and main motifs, which is a slightly rarer color to see.

Finally, we’re brought to main motif on the field. What is it? What do you see? It’s somewhat up for interpretation, and it’s part of what makes this Kazak more visually interesting that many of its counterparts. Kazaks generally don’t have a lot knots to work with, going back to Kazaks being known for big, bold designs. With this design though, there is an attempt at displaying more detail. The beginning of the design seems to show a more traditional vase motif being flanked by abstracted flowers. The tree or plant then extends up the length of the field with branching motifs including what look to be boteh.

This is only one interpretation, which again makes for a more visually interesting piece. Regardless of what might really be being shown, the craft, dyes and condition are all undeniable in this most likely mid-19th c. Kazak.

CONDITION:
Excellent

NOTES:

• Both fringe ends were professionally re-woven

• Small areas of re-piling

• Areas of lower pile

• One discolored line of red in bottom right corner of field

• There is one seemingly fugitive dye, although we think it also may be an especially fragile dye of natural origin (see the bottom left and right cross-shaped centers of the Harshang border motif. The dye is a light-blue)

• Rug was hung from a wall at some point in its history. The professionally installed loops remain installed for future use