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HALITheInternationalMagazineof AntiqueCarpetandTextileArt Editor Daniel Shaffer Deputy Editor Jill Tilden Assistant Editors Nicholas Purdon, Sheila Scott Editorial Archivist & Librarian Rachel Evans Consultant Editors Michael Franses, Robert Pinner Contributing Editors Julia M. Bailey, Alberto Boralevi Steven Cohen, Thomas Cole Rosemary Crill, Anthony Hazledine Rina M. Indictor, Ralph Kaffel Donald King, Alberto Levi DeWitt Mallary, John Mills Vanessa Moraga, Thomas Murray Aaron Nejad, Penny Oakley James W. Reid, Maria Schlatter Philippa Scott, Carlo Maria Suriano Parviz Tanavoli, John T. Wertime Art Director Liz Dixon Art Editor Anderida Hatch Publisher Sebastian Ghandchi Advertisement Manager Christiane Di Re Senior Advertisement Executive Conrad Shouldice Advertisement Executive Mark Harbour Junior Advertisement Executive Ralph Emmerson Advertisement Co-ordinator Angharad Britton Projects & Promotions Manager Piers Clemett Subscriptions Manager Ashley Spinks Publisher’s Assistant & Office Manager Dorisse Akufo-Addo Distribution Manager Marc Thomas Database Consultant Veronica Purdey Receptionist Zobida Khan Hab Publications Limited Kingsgate House, Kingsgate Place London NW6 4TA, UK Telephone (44 171) 328 9341 Fax (44 171)372 5924 E-mail hali@centaur.co.uk A Member of The Centaur Communications Limited Group HALI86 THE COVER Persian knotted pile khorjin face, 19th century. 0.58m (I'll" ) square. Included in the major ICOC exhibition at San Francisco’s Fort Mason Centre in 1990 (see Murray Eiland Jr., Oriental Rugs from Pacific Collections, no.66), when it was catalogued as “probably Karadagb region”. This is the collector’s own attribution for this Persian-knotted bag front and refers to the mountainous border area of Azerbaijan due north of Tabriz. However, the medallion design, also known in southwest Persian weavings, is closely echoed in a south Caucasian rug in the 1990 Eiland catalogue (no. 178), where it is suggested that the bag face is “alleged to he Kurdish”. The border design is widely seen on Persian tribal bags and rugs of most regions. Warp: wool, Z2S, mixed ivory and tan-grey, depressed; weft: wool, Z2S, salmon and dark brown, 2, 3 or 4 shoots; knot: asymmetric, open left, H8 x V8 = 64/in2 (992/dm2); sides & ends: missing; colours: (11) dark red, salmon, pink, gold, apricot, grape, blue, light blue, light green, dark brown (corroded), natural ivory. Michael Rothberg Collection, San Francisco. Issue 86 65 EDITORIAL Oriental rug events on both sides of the Atlantic have thrown into relief the changing character of the collector rug market. 67 LETTERS Mending’s ‘Turkish’ rugs: painted from the imagination or from West European copies? A plea for further enlightenment on Caucasian weaving culture; the great segusha debate gathers pace with sightings of sash wearers; a warning that donations can prove a mixed blessing; tribal rugs and Islamic artistic traditions; ‘Arequipa' culture judged a misnomer; in defence of O' Bannon; a view of the dating of East Turkestan rugs. 71 FORUM A one-day symposium on early Turkish rugs held at Sotheby's, London, turns a few notions upside down as luminaries Franses, Mills, Thompson and Denny open up the dehate. 78 COLLECTOR S TOUCH Mary Hunt Kalilenberg One of the finest corporate collections of textile and folk art is the result of the private passion of Lloyd E. Cotsen. formerly CEO of Neutrogena. Navajo serapes, tie-dyed silks, Bakuba raffia, ikat robes and much else have transformed corridors and work spaces. Now they will be seen by a wider audience al the Museum of International Folk Art in Santa Fe, New Mexico. 86 WEDDING TEXTILES FROM SCANIA Michael Franses The remote villages of rural Southern Sweden developed a distinctive weaving style with international resonance during the 18th and 19th centuries, as can be seen in the striking tapestry weaves and embroideries in the Khalili Collection of Swedish wedding textiles. 92 ACOR 3: FOCUS SESSIONS Hands-on Focus Sessions were at the heart of the 3rd American Conference on Oriental Rugs in Santa Monica. The profound and the mundane were equally represented, as eloquent and prosaic analysis of weaving matters provided both information and entertainment for an attentive audience. 95 ACOR 3: EXHIBITIONS Michael Rothberg. Brian Morehouse and the Textile Group of Los Angeles’ all too brief exhibition of ‘Saddle Bags and Saddle Covers of Iran and the Caucasus’, proved a genuine connoisseur’s choice, the high point of ACOR 3 for most visitors. A second ACOR inspired exhibition, organised by Raymond Benardout and the Textile Museum Associates of Southern California, presented a vast and eclectic assembly o f‘Woven Stars’from local private collections. 102 EXHIBITIONS Ignazio Vok’s Caucasian and Persian flatweaves go on show near Padua; ‘Textiles of Late Antiquity’at the Metropolitan Museum of Art in New York; from Paris to Tokyo, ‘Serindia’ examines cross-cultural influences along the ancient Silk Road; plus a reinstallation of the Islamic galleries at the Cleveland Museum of Art; Islamic art in Danish museums; more Silk Road art and artefacts in ‘Uzbekistan’ at the Linden Museum, Stuttgart; Guatemalan textiles at the V&A, London; Japanese kesa at the Boston Museum of Fine Arts; and two brief reviews from New York: ‘American Schoolgirl Needlework' at the MMA, and ‘Converging Cultures: Art and Identity in Spanish America’ in Brooklyn. 4
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May1996 110 BOOKS Reingard Neumann reviews The Persian Velvets at Rosenborg by Carol Bier; Vanessa Moraga on the recently updated English edition of a Spanish original: Textile Art oj Peru: Peruvian Textile Heritage by James Reid et al.; William Christian on the third and final catalogue of the gabbehs belonging to the Swiss collector Georges D. Hornet. 114 TITLES RECEIVED A selection of recently published books and catalogues. 115 THE HALI GALLERY A distinctive advertisement section in house style. 129 MARKETPLACE NEWS France reluctantly opens its doors to foreign auction houses; Unidroil —TEFAF organisers threaten to quit Maastricht; Oriental Rug Heritage Day in Portland. Oregon; a new carpet and textile art fair in Perugia, Italy. 131 AUCTION PRICE GUIDE An exclusive focus on the Bernheimer Family Collection at Christie’s. London, winnowing the carpets of historical, aesthetic and commercial value from among the superbly marketed chaff. 134 AUCTION REPORTS An overview of the Bernheimer Collection sale; Americana a record price for a historic 18th century needlework, en route to the Boston Museum of Fine Arts; period style is back at the VigO-Sternberg sale of European Tapestries. 137 FAIRS A former TEFAF exhibitor’s view of the 1996 Maastricht fair; Dealers’ Row at the DoubleTree in Santa Monica reviewed in detail; Caskey and Lees stage another high-profile Tribal and Textile Art Show in San Francisco; TVT in Istanbul hitch a ride on a UN world conference to produce a carpet and kilim fair. 143 LOS ANGELES REPORT A selective editorial overview of the oriental rug business in Los Angeles and its environs. 146 GALLERIES Peter Davies of New York’s Turkana Gallery celebrates his 20th year in the Anatolian kilim business; early Turkish carpets shown in the context of Old Master paintings by the Eskenazi/Franses team at Colnaghi's in London; Clive Rogers’ Anatolian rugs and textiles at Vigo Gallery in London; Michael Craycraft focuses on Turkmen rugs in a German outing at Galerie Arabesque; Pasha collaborates with other north Italian galleries to show decorative East Turkestan carpets; Azerbaijan rugs, sumakhs and embroideries at Battilossi in Turin. 166 NETWORK A classified advertisement section. 169 CALENDAR A listing of auctions, exhibitions and fairs worldwide. 174 PARTING SHOTS The San Fransisco Tribal Art & Textile Fair, more faces from ACOR 3, plus London’s busy rug week with the Bernheimer sale as well as exhibitions at Sotheby’s and Colnaghi’s. SUBSCRIPTION RATES I K: (6 issues) £1)0: (12 issues) £ I11 USA: (6 issues) $114; (12 issues) $213 EUROPE: (6 issues) £66; (l 2 issues) £117 REST OF WORLD: (6 issues) £81; (12 issues) £156 Single and Back Issues of HALI are available. See Order Card in this issue for details. Please address all written subscription and circulation enquiries to our London Office. SUBSCRIPTIONS HOTLINE Ashley Spinks HALI London office (44 171) 328 1998 HALI is published six times a year in February, April, June. August. ()<-tuber and December. HALI is published by Hali Publications Limited. Company Registration No.1391142. : Printed in United Kingdom, j ©Worldwide, Hali Publications Limited, Ixindon 1996. ISSN 0142-0798 This periodical is sold subject to the condition that it shall not be lent, hired out or otherwise disposed of by way of trade at a price in excess of the recommended subscription price, without the prior written permission of the publishers. Hali Publications Limited. Postmaster Please send address changes to: Hali Publications Limited, c/o I.M.I). Ltd., at the address below. Second class postage paid at Jamaica, New York and additional offices. I.M.D. Ltd., Building C1D, 145th Avenue & Hook Creek Boulevard, Valley Stream, NY 11581, USA, are our USA mailing agents. Unsolicited Materials While the publishers encourage the submission of unsolicited manuscripts, authors should retain a copy of such manuscripts as well as of the illustrative material. All work, in typescript or computer printout, should be doublei spaced, with wide margins. HALI i accepts no responsibility for the loss of, or damage to, such material. Unless specifically requested, all photographs and materials will be retained. The publishers reserve the right to edit or precis all submitted material as they deem appropriate for publication. Worldwide copyright is held by the publishers, Hali Publications Limited. Reproduction of any text or illustration, in whole or in part, is forbidden without the publishers’ written permission. Imagesetting: Disc to Print, London. Colour Origination: Vision Reproductions Ltd., Milton Kevnes. Printing & Binding: J. Thomson Colour Printers, Glasgow. HALI ETYMON Hali, the modern Turkish word for carpet or rug, was written ka l i in Ottoman script until late in the 19th century, as it was in classical Persian and still is in modern Persian. It was borrowed from Persian into Urdu and from Ottoman Turkish into Armenian and other Caucasian tongues and into the languages of the Balkans. Its ultimate origin is uncertain; it could he Turkish but might be Sogdian. MALI 86

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HALITheInternationalMagazineof AntiqueCarpetandTextileArt

Editor Daniel Shaffer Deputy Editor Jill Tilden Assistant Editors Nicholas Purdon, Sheila Scott Editorial Archivist & Librarian Rachel Evans

Consultant Editors Michael Franses, Robert Pinner Contributing Editors Julia M. Bailey, Alberto Boralevi Steven Cohen, Thomas Cole Rosemary Crill, Anthony Hazledine Rina M. Indictor, Ralph Kaffel Donald King, Alberto Levi DeWitt Mallary, John Mills Vanessa Moraga, Thomas Murray Aaron Nejad, Penny Oakley James W. Reid, Maria Schlatter Philippa Scott, Carlo Maria Suriano Parviz Tanavoli, John T. Wertime

Art Director Liz Dixon Art Editor Anderida Hatch

Publisher Sebastian Ghandchi

Advertisement Manager Christiane Di Re Senior Advertisement Executive Conrad Shouldice Advertisement Executive Mark Harbour Junior Advertisement Executive Ralph Emmerson Advertisement Co-ordinator Angharad Britton

Projects & Promotions Manager Piers Clemett

Subscriptions Manager Ashley Spinks

Publisher’s Assistant & Office Manager Dorisse Akufo-Addo Distribution Manager Marc Thomas Database Consultant Veronica Purdey Receptionist Zobida Khan

Hab Publications Limited Kingsgate House, Kingsgate Place London NW6 4TA, UK Telephone (44 171) 328 9341 Fax (44 171)372 5924 E-mail hali@centaur.co.uk A Member of The Centaur Communications Limited Group

HALI86

THE COVER Persian knotted pile khorjin face, 19th century. 0.58m (I'll" ) square. Included in the major ICOC exhibition at San Francisco’s Fort Mason Centre in 1990 (see Murray Eiland Jr., Oriental Rugs from Pacific Collections, no.66), when it was catalogued as “probably Karadagb region”. This is the collector’s own attribution for this Persian-knotted bag front and refers to the mountainous border area of Azerbaijan due north of Tabriz. However, the medallion design, also known in southwest Persian weavings, is closely echoed in a south Caucasian rug in the 1990 Eiland catalogue (no. 178), where it is suggested that the bag face is “alleged to he Kurdish”. The border design is widely seen on Persian tribal bags and rugs of most regions. Warp: wool, Z2S, mixed ivory and tan-grey, depressed; weft: wool, Z2S, salmon and dark brown, 2, 3 or 4 shoots; knot: asymmetric, open left, H8 x V8 = 64/in2 (992/dm2); sides & ends: missing; colours: (11) dark red, salmon, pink, gold, apricot, grape, blue, light blue, light green, dark brown (corroded), natural ivory. Michael Rothberg Collection, San Francisco.

Issue 86

65 EDITORIAL Oriental rug events on both sides of the Atlantic have thrown into relief the changing character of the collector rug market.

67 LETTERS

Mending’s ‘Turkish’ rugs: painted from the imagination or from West European copies? A plea for further enlightenment on Caucasian weaving culture; the great segusha debate gathers pace with sightings of sash wearers; a warning that donations can prove a mixed blessing; tribal rugs and Islamic artistic traditions; ‘Arequipa' culture judged a misnomer; in defence of O' Bannon; a view of the dating of East Turkestan rugs.

71 FORUM

A one-day symposium on early Turkish rugs held at Sotheby's,

London, turns a few notions upside down as luminaries Franses, Mills, Thompson and Denny open up the dehate.

78 COLLECTOR S TOUCH

Mary Hunt Kalilenberg

One of the finest corporate collections of textile and folk art is the result of the private passion of Lloyd E. Cotsen. formerly CEO of Neutrogena. Navajo serapes, tie-dyed silks, Bakuba raffia, ikat robes and much else have transformed corridors and work spaces. Now they will be seen by a wider audience al the Museum of International Folk Art in Santa Fe, New Mexico.

86 WEDDING TEXTILES FROM SCANIA

Michael Franses

The remote villages of rural Southern Sweden developed a distinctive weaving style with international resonance during the 18th and 19th centuries, as can be seen in the striking tapestry weaves and embroideries in the Khalili Collection of Swedish wedding textiles.

92 ACOR 3: FOCUS SESSIONS Hands-on Focus Sessions were at the heart of the 3rd American

Conference on Oriental Rugs in Santa Monica. The profound and the mundane were equally represented, as eloquent and prosaic analysis of weaving matters provided both information and entertainment for an attentive audience.

95 ACOR 3: EXHIBITIONS Michael Rothberg. Brian Morehouse and the Textile Group of Los Angeles’ all too brief exhibition of ‘Saddle Bags and Saddle Covers of Iran and the Caucasus’, proved a genuine connoisseur’s choice, the high point of ACOR 3 for most visitors. A second ACOR inspired exhibition, organised by Raymond Benardout and the Textile Museum Associates of Southern California, presented a vast and eclectic assembly o f‘Woven Stars’from local private collections.

102 EXHIBITIONS Ignazio Vok’s Caucasian and Persian flatweaves go on show near Padua; ‘Textiles of Late Antiquity’at the Metropolitan Museum of Art in New York; from Paris to Tokyo, ‘Serindia’

examines cross-cultural influences along the ancient Silk Road; plus a reinstallation of the Islamic galleries at the Cleveland Museum of Art; Islamic art in Danish museums; more Silk Road art and artefacts in ‘Uzbekistan’ at the Linden Museum, Stuttgart; Guatemalan textiles at the V&A, London;

Japanese kesa at the Boston Museum of Fine Arts; and two brief reviews from New York: ‘American Schoolgirl Needlework'

at the MMA, and ‘Converging Cultures: Art and Identity in Spanish America’ in Brooklyn.

4

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