The history and relationship of Mamluk carpets and Ottoman Cairene carpets are briefly discussed in conjunction with lots 83 and 100, respectively, of this catalogue. The rug seen here, belongs to an extremely rare and interesting group of rugs which represents the transition between the two styles of Mamluk and Ottoman Cairene carpets. In structure and coloration, this rug is a classic example of Mamluk weaving. It's design, however, purely represents the beginnings of the Ottoman floral aesthetic. It has often been suggested that the Ottoman Cairene rugs represent an abrupt change in the designs and palette of the Cairo looms dictated by the new Turkish rulers after the Ottoman conquest of the Mamluks in 1517. The present rug, while supporting this theory to a degree, also indicates that this change was at least somewhat gradual and transitional. Another rug, in the Textile Museum, Washington, DC, probably represents a slightly earlier version of this transitional group (see Knel, Ernst and Bellinger, Louisa: Cairene Rugs and Others Technically Related, Washington, 1957, pl.XXII). In the Washington rug, the floral lattice of the field seems misunderstood by the weaver and is very angular and stiff. In the Bernheimer piece, the weaver has tackled the Ottoman style quite successfully but still adheres to the three-color Mamluk palette. In a review of an exhibition at the Textile Museum, Charles Grant Ellis points out that the appearance of a central medallion in the Textile Museum piece, as similar to the current Bernheimer rug, is very rare as most other known rugs from this transitional group have an all-over repeating design (see Ellis, C. G.: "Mamluk Rug Exhibition," Hali, Vol. 4, no. 1, 1981, p.68).

Another fragment from this transitional group was in the possession of Otto Bernheimer until 1961 (see Volkmann, Martin: Alte Orientteppiche, 1985, pp.20-21, no.3). It has been suggested, since the present rugs shows some signs of being pieced, that this former Bernheimer fragment may have originally also come from this rug. A close comparison of the two, however, reveals subtle differences in design, especially different background colors for the rosette guard borders, which proves this to be unlikely. Instead, it underscores Otto Bernheimer's early appreciation of fragments of important carpets and shows his good fortune of once owning two examples of such a rare group.