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Lot Essay
Several examples with the same design exist as panels of varying sizes in prominent collections. These include a shaped panel in the Louvre and a panel in the Metropolitan Museum of Art, (both discussed in M. Bernus-Taylor (ed.), Arabesques et jardins de paradis; collections françaises d'art islamique, Paris, 1989, pp.56-57); panels in: the Victoria and Albert Museum, (A. U. Pope, A Survey of Persian Art, Oxford, 1938, plate 1064); the Pennsylvania Museum, (R, Ettinghausen and E. Yarshter, (eds.), Highlights of Persian Art, Colorado, 1979, p.281, fig.192); the Calouste Gulbenkian Collection, (R. Ettinghausen, (ed.), Persian Art, Calouste Gulbenkian Collection, Lisbon, 1963. fig. 22 and dust jacket); the Worcester Art Museum, (Anthony Welch, Shah 'Abbas and the Arts of Isfahan, New York 1973, p.83, pl.54); the Nasli M. Heeramaneck Collection, Los Angeles County Museum of Art, (P. Pal (ed.), Islamic Art; The Nasli M. Heeramaneck Collection, Los Angeles, 1973, p.214); and the Keir Collection, (Friedrich Spühler, Islamic Carpets and Textiles in the Keir Collection, London, 1978, p.190 no.110).
Although the panels vary in size of repeat pattern, all are from the same cartoon and feature the same family of colours as our textile. Attributed by various publications to the late 16th or early 17th century, these velvets were almost certainly created at the court of Shah Abbas the Great (1587-1628), a court renowned for its velvet production.
Although the panels vary in size of repeat pattern, all are from the same cartoon and feature the same family of colours as our textile. Attributed by various publications to the late 16th or early 17th century, these velvets were almost certainly created at the court of Shah Abbas the Great (1587-1628), a court renowned for its velvet production.