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拍品專文
The knot count measures approximately 6V x 6H per sq. cm.
The rugs woven by the Armenian master weavers of the famous ‘Koum Kapi’ (lit. Sand Gate) ateliers in Istanbul’s area of the same name, are primarily known for their exquisite silk rugs and weavings, which continued to be woven after the fall of the Ottoman Empire following World War I.
Unlike the better known silk rugs, our prayer rug is surprising in that it is woven in wool of which we know of only one other example that sold at Sotheby’s, London, 26 April 2023, lot 150. According to George Farrow, the Koum Kapi production initially consisted of wool rugs, perhaps as prototypes for later pieces, with their first looms starting in Armenian churches and orphanages in various parts of Istanbul in the late 19th century, supposedly founded by Armenians Zara Agha of Kayseri and Apraham Agha of Sivas (George Farrow and Leonard Harrow, Hagop Kapoudjian: the First and Greatest Master of the Koum Kapi School, London, 1993, p.11). In an undated draft contract between the master weaver, Hagop Kapoudjian and a potential client, Kapoudjian is seen describing his workshop and its production, noting that: “there are very fine art, artistic, historically valuable Kum Kapi carpets to be found, which are made of very precious gold thread, silk or wool,” clearly suggesting that some pieces were woven with material other than just silk, (op.cit., p.60).
The present lot could have been one of those examples to which Kapoudjian makes reference in his contract, as the present rug bears his initials in as many as three different places. Born in 1870, Hagop Kapoudjian began his career in the last decades of the 19th century (op.cit., p.13). This rug belongs to a group woven a little later in his career when his confidence as a designer had evolved. Rather than simply following classical prototypes, here we see him boldly combining and creating designs developed by 16thvand 17th century weavers. Typical of Hagop is the purple field, which he seems to have made into his trademark later in his career. He also proudly signs his work, with his initials both in Armenian and Latin. After 1920 the use of Armenian lettering was forbidden by Mustafa Kemal Atatürk (op.cit., pp.79-80), so we can safely assume that the rug was woven before this date.
The 'Sultan's Head' design is one of the most iconic designs associated with the Koum Kapi weavers, originating in the so-called Topkapi rugs thought to have been a diplomatic gift from the Safavid Shah ‘Abbas I (r.1588-1629) to the Ottoman Sultan Murad III (r.1574-95). The largest known group of these are in the Topkapi Museum, but the most well-known example is in the Metropolitan Museum of Art, New York (17.120.124). Hagop Kapoudjian would carefully integrate these publications in his work, suggested by the similar field cartoons of the Metropolitan rug and our rug, but he would add his own marks, such as the realistically-drawn hoopoes, partridges, ducks, and stags belonging more to 20th century prints than 16th century weaving. Animals can be seen on his original cartoons, five of which were sold in these Rooms, 25 April 2024, lot 180.
Although the drawing of the vase is frequently used in the rugs of Zareh Penyamin, Kapoudjian also employed this motif, depicted here in the apex of the mihrab. This was based on his own design, as can be seen in the hand-cut and coloured cartoon almost identical with the one in the niche of our rug which sold in these Rooms, 25 April 2024, lot 172.
The rugs woven by the Armenian master weavers of the famous ‘Koum Kapi’ (lit. Sand Gate) ateliers in Istanbul’s area of the same name, are primarily known for their exquisite silk rugs and weavings, which continued to be woven after the fall of the Ottoman Empire following World War I.
Unlike the better known silk rugs, our prayer rug is surprising in that it is woven in wool of which we know of only one other example that sold at Sotheby’s, London, 26 April 2023, lot 150. According to George Farrow, the Koum Kapi production initially consisted of wool rugs, perhaps as prototypes for later pieces, with their first looms starting in Armenian churches and orphanages in various parts of Istanbul in the late 19th century, supposedly founded by Armenians Zara Agha of Kayseri and Apraham Agha of Sivas (George Farrow and Leonard Harrow, Hagop Kapoudjian: the First and Greatest Master of the Koum Kapi School, London, 1993, p.11). In an undated draft contract between the master weaver, Hagop Kapoudjian and a potential client, Kapoudjian is seen describing his workshop and its production, noting that: “there are very fine art, artistic, historically valuable Kum Kapi carpets to be found, which are made of very precious gold thread, silk or wool,” clearly suggesting that some pieces were woven with material other than just silk, (op.cit., p.60).
The present lot could have been one of those examples to which Kapoudjian makes reference in his contract, as the present rug bears his initials in as many as three different places. Born in 1870, Hagop Kapoudjian began his career in the last decades of the 19th century (op.cit., p.13). This rug belongs to a group woven a little later in his career when his confidence as a designer had evolved. Rather than simply following classical prototypes, here we see him boldly combining and creating designs developed by 16thvand 17th century weavers. Typical of Hagop is the purple field, which he seems to have made into his trademark later in his career. He also proudly signs his work, with his initials both in Armenian and Latin. After 1920 the use of Armenian lettering was forbidden by Mustafa Kemal Atatürk (op.cit., pp.79-80), so we can safely assume that the rug was woven before this date.
The 'Sultan's Head' design is one of the most iconic designs associated with the Koum Kapi weavers, originating in the so-called Topkapi rugs thought to have been a diplomatic gift from the Safavid Shah ‘Abbas I (r.1588-1629) to the Ottoman Sultan Murad III (r.1574-95). The largest known group of these are in the Topkapi Museum, but the most well-known example is in the Metropolitan Museum of Art, New York (17.120.124). Hagop Kapoudjian would carefully integrate these publications in his work, suggested by the similar field cartoons of the Metropolitan rug and our rug, but he would add his own marks, such as the realistically-drawn hoopoes, partridges, ducks, and stags belonging more to 20th century prints than 16th century weaving. Animals can be seen on his original cartoons, five of which were sold in these Rooms, 25 April 2024, lot 180.
Although the drawing of the vase is frequently used in the rugs of Zareh Penyamin, Kapoudjian also employed this motif, depicted here in the apex of the mihrab. This was based on his own design, as can be seen in the hand-cut and coloured cartoon almost identical with the one in the niche of our rug which sold in these Rooms, 25 April 2024, lot 172.