Lot Essay
Warp: wool, ivory, natural, Z2S
Weft: wool, dyed yellow-tan, Z spun, 2 to 4 strands unplied, 1 shoot
Pile: wool, Z2, Spanish single warp knot, pull rightwards, H8xV10-11, no alternate warp depression
Sides: not original
Ends: not original
Colors: medium blue, ochre, gold, forest green
Spanish carpets are among the oldest complete group of knotted-pile carpet weaving extant today. While it is possible that carpet weaving was introduced to Spain with the 8th century Moorish conquest of the Iberian peninsula, it is documented that a flourishing carpet industry existed in Spain by at least the 13th century. Early Spanish carpets were heavily influenced by Islamic design traditions and over time, with the continual reclaiming of Spain by Christians, European Gothic and Renaissance patterns were incorporated into carpets creating a distinct Spanish style. During the Muslim domination of Spain, Spanish carpets were appreciated throughout the Mediterranean and there appears to have been a healthy export market, especially to Egypt. From the 13th to 15th century with the Christian reconquest of Spain, the appreciation of these carpets shifted toward Europe as there was no other established carpet production in the Western world. Patronage for these carpets in the West came from both the wealthy nobility and the Church. It also appears that it was popular for individuals to pay homage to the church by making gifts of such carpets to chapels and convents. The 15th and 16th century represents the apex of Spanish carpet weaving and it is during this period that traditional European designs become predominant with only vestigal Islamic influences remaining.
The present carpet is an exquisite example of Spanish weaving from the 16th century when European aesthetics were fully incorporated into the design. During this period, carpet weavers often found inspiration from contemporary textile patterns and the design of this carpet can be seen in 16th century Italian and Spanish velvets and brocades (see Sherrill, Sarah B., Carpets and Rugs of Europe and America, New York, 1995, p.44, plates 39 and 40). Interestingly, these textiles were also influenced by Islamic precendents and the intertwining strap-work and palmette design seen here is a fully Europeanized version of a traditional Islamic pomegranate and vine motif.
This basic design can be seen in several other Spanish carpets from the same period, such as an example in the Textile Museum, Washington, DC (see Kühnel, E. and Bellinger, L., Catalogue of Spanish Rugs, Washington, DC, 1953, plates XXXII and XXXIII), an example in the Hispanic Society of America, New York (see Bennett, I., Rugs & Carpets of the World, London, 1977, p.264), an example in the Victoria & Albert Museum, London and another in the Philadelphia Museum of Art (see Ellis, C. G., Oriental Carpets in the Philadelphia Museum of Art, Philadelphia, 1988, pp.256-257, figures 70 and 70a). These cited examples do differ slightly from the offered lot in that they all have yellow grounds and are slightly more attenuated in their drawing. Another carpet with a similar blue field and broader drawing as seen here is in the Wendy and Emery Reves Collection at the Dallas Museum of Art (see Venable, C., Decorative Highlights from the Wendy and Emery Reves Collection, Dallas, 1995, p.30). It has been suggested that the yellow ground carpets with finer drawing are from the early-to-mid 16th century and that the current and Reves example date to the second-half of the 16th century. While this may be true, it is also quite possible that all of the carpets were woven contemporaneously, but in different workshops.
The border design of the piece here, with its stylized floral dragons flanking urns, is also different than the other cited examples. Two other carpets with a similar field design and almost identical border designs to the offered lot are known; one was offered by Lefevre & Partners, London, 26 November 1982, lot 8 and the other example was formerly in the collection of Sr. Conde de Welczeck (see Torres, J. F., Exposicion de Alfombroas Antiguas Espanolas, Madrid, 1933, no. 10). The present carpet also whimiscally incorporates small birds or ducks into the design which are not seen in the other published examples of this group. The depiction of these ducks is usually associated with 17th century Spanish carpets from Cuenca, however, they can also be seen in 15th century carpets, such as the 'Admiral' carpet in the Philadelphia Museum of Art (see Ellis, op. cit., p.242, fig. 67).
Weft: wool, dyed yellow-tan, Z spun, 2 to 4 strands unplied, 1 shoot
Pile: wool, Z2, Spanish single warp knot, pull rightwards, H8xV10-11, no alternate warp depression
Sides: not original
Ends: not original
Colors: medium blue, ochre, gold, forest green
Spanish carpets are among the oldest complete group of knotted-pile carpet weaving extant today. While it is possible that carpet weaving was introduced to Spain with the 8th century Moorish conquest of the Iberian peninsula, it is documented that a flourishing carpet industry existed in Spain by at least the 13th century. Early Spanish carpets were heavily influenced by Islamic design traditions and over time, with the continual reclaiming of Spain by Christians, European Gothic and Renaissance patterns were incorporated into carpets creating a distinct Spanish style. During the Muslim domination of Spain, Spanish carpets were appreciated throughout the Mediterranean and there appears to have been a healthy export market, especially to Egypt. From the 13th to 15th century with the Christian reconquest of Spain, the appreciation of these carpets shifted toward Europe as there was no other established carpet production in the Western world. Patronage for these carpets in the West came from both the wealthy nobility and the Church. It also appears that it was popular for individuals to pay homage to the church by making gifts of such carpets to chapels and convents. The 15th and 16th century represents the apex of Spanish carpet weaving and it is during this period that traditional European designs become predominant with only vestigal Islamic influences remaining.
The present carpet is an exquisite example of Spanish weaving from the 16th century when European aesthetics were fully incorporated into the design. During this period, carpet weavers often found inspiration from contemporary textile patterns and the design of this carpet can be seen in 16th century Italian and Spanish velvets and brocades (see Sherrill, Sarah B., Carpets and Rugs of Europe and America, New York, 1995, p.44, plates 39 and 40). Interestingly, these textiles were also influenced by Islamic precendents and the intertwining strap-work and palmette design seen here is a fully Europeanized version of a traditional Islamic pomegranate and vine motif.
This basic design can be seen in several other Spanish carpets from the same period, such as an example in the Textile Museum, Washington, DC (see Kühnel, E. and Bellinger, L., Catalogue of Spanish Rugs, Washington, DC, 1953, plates XXXII and XXXIII), an example in the Hispanic Society of America, New York (see Bennett, I., Rugs & Carpets of the World, London, 1977, p.264), an example in the Victoria & Albert Museum, London and another in the Philadelphia Museum of Art (see Ellis, C. G., Oriental Carpets in the Philadelphia Museum of Art, Philadelphia, 1988, pp.256-257, figures 70 and 70a). These cited examples do differ slightly from the offered lot in that they all have yellow grounds and are slightly more attenuated in their drawing. Another carpet with a similar blue field and broader drawing as seen here is in the Wendy and Emery Reves Collection at the Dallas Museum of Art (see Venable, C., Decorative Highlights from the Wendy and Emery Reves Collection, Dallas, 1995, p.30). It has been suggested that the yellow ground carpets with finer drawing are from the early-to-mid 16th century and that the current and Reves example date to the second-half of the 16th century. While this may be true, it is also quite possible that all of the carpets were woven contemporaneously, but in different workshops.
The border design of the piece here, with its stylized floral dragons flanking urns, is also different than the other cited examples. Two other carpets with a similar field design and almost identical border designs to the offered lot are known; one was offered by Lefevre & Partners, London, 26 November 1982, lot 8 and the other example was formerly in the collection of Sr. Conde de Welczeck (see Torres, J. F., Exposicion de Alfombroas Antiguas Espanolas, Madrid, 1933, no. 10). The present carpet also whimiscally incorporates small birds or ducks into the design which are not seen in the other published examples of this group. The depiction of these ducks is usually associated with 17th century Spanish carpets from Cuenca, however, they can also be seen in 15th century carpets, such as the 'Admiral' carpet in the Philadelphia Museum of Art (see Ellis, op. cit., p.242, fig. 67).