2618
AGE & ORIGIN:
3rd Q. 19th C.
Anatolia
OVERVIEW:
While we’ve opted for the ‘Moghan’ descriptor, it’s probably safe to say that this could be either NW Persian as well. The reason for my designation would be down to the colors. There’s nothing quite like the juicy colors of this region. Highly saturated and eye-catching, all the while totally natural in origin.
While the condition is not for the faint of heart, it’s worth noting that this rug does have elements that may appeal to a collectors sensibilities, the most prominent being the ‘floating’ memling guls. Most rugs, and in fact the potential majority of the most well-known Moghan rugs, that feature this motif find themselves caging these medallions within a box or lattice structure. This rug though is more freeform with its placement of the guls, and as a downstream effect, creating an offset, repeating and connected gul utilizing the cream color; one only need focus on the negative space to recognize the utilization and the creativity of the weaver.
CONDITION:
Obvious issues such as tears, rips, holes and pile loss. The rug has also been shortened (cut-and-shut, as they say) but well-done to be sure. Still areas of fat Kurdish pile.
2618
AGE & ORIGIN:
3rd Q. 19th C.
Anatolia
OVERVIEW:
While we’ve opted for the ‘Moghan’ descriptor, it’s probably safe to say that this could be either NW Persian as well. The reason for my designation would be down to the colors. There’s nothing quite like the juicy colors of this region. Highly saturated and eye-catching, all the while totally natural in origin.
While the condition is not for the faint of heart, it’s worth noting that this rug does have elements that may appeal to a collectors sensibilities, the most prominent being the ‘floating’ memling guls. Most rugs, and in fact the potential majority of the most well-known Moghan rugs, that feature this motif find themselves caging these medallions within a box or lattice structure. This rug though is more freeform with its placement of the guls, and as a downstream effect, creating an offset, repeating and connected gul utilizing the cream color; one only need focus on the negative space to recognize the utilization and the creativity of the weaver.
CONDITION:
Obvious issues such as tears, rips, holes and pile loss. The rug has also been shortened (cut-and-shut, as they say) but well-done to be sure. Still areas of fat Kurdish pile.
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