PROBABLY BY HAGOP KAPOUDJIAN, CORFU OR PARIS, CIRCA 1920

The knot count measures approximately 8V x 8H knots per cm. sq.

For a long period it had been suggested that those Istanbul silk rugs with a thick, supple pile on red wefts, bearing a madder-red kilim with a white stripe, were woven in Hereke and associated with Abraham Toussounian. Indeed, in her seminal article of 1985 Pamela Bensoussan wrote that 'of all the Koum Kapi weavers [sic], Toussounian was the most prolific' ("The Master Weavers of Istanbul", HALI 26, p.38). She also notes however that he was an 'energetic entrepreneur' and by the 1930s had dominated the London silk carpet market for over a decade. M. Önder Çokay supported this view in a 2017 article for HALI, writing that Toussounian moved to London 'after producing carpets in his studios in Corfu and Istanbul', and that his operations were only brought to a close by the coming of the Second World War ("Istanbul's Masters of Silk", HALI 192, p.107).

George Farrow was convinced that this was a simplification of the truth. Research undertaken between 1992 and 1994 with the help of the Keshishian family, revealed that Toussounian's role was entirely as a buyer and seller of carpets, and that he did not design the rugs himself, nor did he play as active a role in the weaving process as Hagop. He, however, provided the capital to set up looms in Corfu and Paris, where Hagop's designs were woven with the red kilim finishes which were Toussounian's own trademark .The relationship between the two men was not always a friendly one: Farrow had in his collection an angry letter from Toussounian to Hagop dated to 16 May 1927. In the letter, Toussounian accuses Hagop of a litany of crimes, including not sharing his profits and falsely claiming to have not received payment. An allusion which Toussounian makes to Hagop's 'debt' suggests that the former may have paid to set up Hagop's workshop, leaving him beholden to Toussounian. A pitiless Toussounian closes with a thinly-veiled threat: 'if you don't settle the account in a friendly way, I will find another way to cash my demand, and with interest!'

In spite of this acrimonious letter, the number of carpets with a design and structure similar to the present lot suggests that their was a long and productive relationship, accounting for Toussounian's apparently 'prolific' output. All share many features with the present lot: a thick pile, flexible feel, and designs which take inspiration from classical prototypes but are not mere imitations of them. The present lot, for example, combines a classic Safavid 'Vase' with a ivory an border. An example in the Arkas collection with a very similar field design, a matching border, and slightly different colouring - which also appears to have the red 'Toussounian' kilim at the ends - is in fact signed with Hagop's initials in Armenian in six places. This confirms that Hagop was one of the designers working on commission for Toussounian, and adds weight to Farrow's attribution.