In a collection comprising a number of academically stimulating rugs, this is probably the most unusual. On the basis of the design alone the rug has been attributed to 17th/18th century China (Figdor auction catalogue), to 'probably Anatolia' (Michael Franses in HALI) and to Karabagh (Friedrich Spuhler in his notes on the collection).

If the origin is outside China, the depiction of the figures is remarkably well-defined, following the Chinese painting far closer than, for example, the Persian potters followed Chinese blue and white porcelain. The instrument in the hands of the rear figure is clearly recognisable to a specialist in Chinese art as a pipa, a form of Chinese lute. The concept of a figural group on a plain background is also both well-documented in Chinese rugs (as in lot 197), and against the Islamic tradition seen in rugs as well as miniatures and other media.

It is not a product of one of the well-known centres of rug production within China; it neither has the structure or colours of a rug produced in Beijing or East Turkestan. The depiction of the figures does however have a number of similarities to art produced in South West China in the eighteenth century, although some of the details of the clothing are tricky to match up to painting of this area, particularly the fastening of the cloak. One other possibility suggests itself, although very little study has been made on the subject: the possibility that it might be a hui product; that is, from the Persian community resident within Beijing. While the knotting is symmetrical, this would be compatible with a rug made by a Persian from Tabriz (as would the somewhat limited palette). Until however more research is performed, the precise origin of this rug cannot be defined with any great degree of certainty.