Originating from late 16th-century Egypt, this fine piece displays a circular medallion in a green field accented by navy blue and earthy red flora. Bursting from a blue interior into a brilliant red, green, and gold blossom, the guards represent quartered copies of the central medallion. The exquisite composition and style of this piece along with its well-preserved condition make it a rare and valuable addition to the Nazmiyal Collection.

With a global economy in turmoil, conflicts raging in the Middle East and Africa, poverty and global warming, we, as a people, are facing serious challenges. During the recent US elections, America has demonstrated its belief in the “audacity of hope”. We have made a historic decision to leave behind the divisive identities that have so far kept us from working together for a common purpose. We have affirmed that the things that unite us are far more important than the issues that separate us from one another, and that to meet the challenges ahead, America must look to the future rather than the past.

On the cover of this week’s NY Magazine, Michelle Obama, Sasha, Malia, and the new hypoallergenic puppy are all grouped above one of our pieces“ a French Aubusson carpet of the First Empire period. We must note that their busy schedule did not allow them to pose above the actual carpet. The picture was achieved as a ‘Photoshop’ montage (art must sometimes take liberties in the quest for elegance) but the result is what counts!

In the new year of 2009, with an optimistic spirit, we will have the youngest First Family in the White House in more than two generations. We at Nazmiyal Collection would like to wish the President Elect, his family, and all our clients, friends and associates health, success, and prosperity for the upcoming holiday!

Happy holidays from all of us at Nazmiyal.

The answer depends on how closely one looks, or, to put it differently, how discriminating a buyer one is. For the vast majority of rug buyers, new rugs will suffice. In fact, many new rug buyers made be satisfied with machine-made rugs. Certainly, customers looking for quality modern design rugs will inevitably be drawn to new production pieces. But for those who enjoy traditional oriental carpets in Persian style, or pieces of tribal and nomadic type, the pieces that are currently being produced will only meet their needs to a point. There is more to a rug than the specific configuration of its design, and while the use of handspun wool and vegetable dyes may recover traditional techniques, there is no substitute for the effects of time. What new rugs can never recreate, however well-made they may be, is the cultural milieu in which they were produced, the environment and experience that directly governed the weaver’s approach to pattern and design. And new rugs, so long as they are new, cannot have the delicate patination of the color and the polished surface that give antique rugs so much of the appearance for which they are prized. That only comes with time.

Let us expand a bit on these last two points. Cultural milieu or experience is extremely difficult to quantify and explain, but there can be no doubt that this is what imparted so much of the distinctive character that antique rugs still project to a discerning viewer. Rug weaving and design were an integral part of the culture of the people who made them up until the early twentieth century. Rug weaving was analogous to the traditional music of their culture or to their literature and mythology. It was part of their cultural or social structure, Today little of that culture remains intact as a living phenomenon, It has been supplanted by a new cultural outlook permeated by western conceptions arriving via film, TV, and the internet. The people making rugs today no longer think and observe the way their ancestors did. Consequently they can never produce traditional culture as a living, creative activity in the manner of their forebears. They can attempt to replicate it for commercial purposes, and they may even come remarkably close, but it can never really be the same. That is why a discriminating rug enthusiast cannot be satisfied by a new rug. There is a certain quality of life that affected the way old rugs were designed and made that cannot be recaptured today.

In the same way the passage of time affects rugs materially or physically. This is not always a good thing. Rugs wear down over the years. They can be affected by dryness and damp. They can become damaged and in need of repair. But over time antique rugs that have been properly cared for also acquire qualities that are admired and prized. Unlike many of the synthetic colors that came into use in the later nineteenth and early twentieth centuries, natural vegetable dyes are remarkably resistant to fading, but they do soften or mellow a bit, especially at the tips of the fibers of the pile. This “patina” effects the play of light on the surface, varying the appearance of the colors, making them more translucent, and imparting a quality of depth, especially in conjunction with the irregular textures of high-quality handspun wool. Even a certain amount of wear is desirable. The shorter the pile, the crisper the design appears to be. The slow wearing of the pile also polishes it, making it even more lustrous and velvety. Only time can confer this gracefulness of age, as one may put it.

All the special qualities that make antique rugs desirable create market demand, which, in turn, intersects with rarity and availability to establish market price. Antique rugs are more expensive than new rugs because their number is finite, and because it becomes increasingly difficult to supply demand as rugs are purchased and disappear into private collection. Those who can appreciate the qualities and distinctions outlined above have long known that they must be willing to pay for them competitively, hence the higher price of antique rugs. But there is a silver lining here, so to speak. Antique rugs hold their value and even appreciate over time. If properly maintained by their owners, they can easily be resold or traded in against a new purchase. They are an investment, like any other fine antique or a piece of real estate. New rugs offer no such opportunity. They may someday be prized as antiques; only time will tell. But the day after they are purchased, they are worth considerably less than they were before. In my opinion, the pleasure that an antique rug offers to an informed and appreciative viewer makes it well worth the price. But when one takes into account the investment potential of a fine antique rug, the reasons to acquire one increase dramatically. Even those who are indifferent to the aesthetic qualities of antique rugs can see the financial advantage in acquiring them. But for those who can appreciate their beauty, antique rugs make a far more desirable and useful investment than a stock portfolio.

One of the great commonplaces of the rug market is the supposed distinction between antique rugs of the sort sought after by collectors and those that appeal to clients who are primarily interested in decorating their homes or offices. This sweeping distinction involves a range of underlying oppositions – the difference between the design traditions used in village or tribal weaving and those used in urban rug production, the difference between small rugs and trappings versus larger or room-sized rugs, a rich and varied palette versus one that is cooler and more limited, and a knowledgeable interest in the rare and esoteric as opposed to a desire for what is simply beautiful or attractive.

Antique rug collectors come off as scholars more or less, endowed to one degree or another with a learned historical perspective. They tend to approach rugs from the vantage of ethnography. They are interested in tribal or regional distinctions and the place of a given piece in a larger development. They want pieces made for local use, which they see as authentic, in opposition to rugs made simply for commercial export. They tend to acquire pieces of scatter size or smaller that typified village and tribal weaving, where larger rugs were less common. Collectors accept and admire the often quirky or wild design sensibility and coloration of tribal and village rugs.

Decorative rug enthusiasts, on the other hand are interested in acquiring ornamental floor coverings that work within a larger, coordinated system or plan of interior furnishing. Consequently, they tend toward rugs that are bigger, whose designs and coloration are more subdued or less obtrusive, and therefore capable of blending in more easily with their surroundings. Since rugs of this size tended to be made in urban-centered workshops, it was the more sophisticated oriental design tradition of the cities that became synonymous with the notion of the decorative rugs and the taste they appeal to. Owners of decorative rugs are also assumed not to be immediately concerned with the historical development or rarity of the pieces they acquire, but primarily with their visual appeal.

Seen in these terms, the difference between collectible and decorative antique rugs would seem to be a gulf as wide as the Grand Canyon. But as with all polar oppositions, those sketched above are predicated on assumptions, often simplistic, which obscure and distort what is really a more complex situation. Collectors interested in antique nomadic tribal weavings do acquire larger rugs or main carpets, just as those interested in classical Persian, Turkish, or Indian carpets must consider buying pieces fifteen to twenty feet long or more. Collector pieces of this sort will inevitably go on the floor, and as such they must function as interior furnishings, or, dare one say, as decorative rugs. And while actual statistics may be lacking, it is virtually certain that many collectors use even scatter size rugs as floor covering, or as furniture throws, where they too function as an integral part of interior décor. Nor is it clear that collector pieces are essentially equatable with tribal and village rugs. Collectors of early Turkish, Persian, and Indian rugs are clearly interested in pieces with classic Islamic urban design, the same types of design that inspired most of the decorative rugs of the nineteenth and early twentieth centuries. What is more, various urban-derived small sized Turkish and Persian rugs of the nineteenth century, Hereke, Ghiordes, Farahan or Kerman, are considered collectible. From this perspective much of the distinction between collectible and decorative rugs collapses.

To put it somewhat differently, many, perhaps most collector rugs can also be decorative rugs, while some, but not all decorative rugs are collectible. So, if antique tribal and/or classical pieces with richer color and strident designs, even smaller ones, can be used as decorative rugs, then what aspects of the conception of antique decorative rugs discussed above do in fact distinguish them from collector pieces? It is the notion that essentially decorative rug buyers have no real interest in the history and development of designs, and that they are looking for pieces with subdued design and coloration. But who says that the affluent, tasteful, highly educated buyers who largely constitute the clientele for decorative antique rugs have no interest in the history or artistic development of the piece they acquire, or that with some encouragement, they could acquire such interests? And who says that they want designs and colors that will fade into the woodwork so as not to overwhelm the surrounding upholstery and window treatments? These too are simplistic assumptions, and to the extent that they are true, they may not represent the genuine, unfettered sensibilities of the clients themselves, but rather the opinions and strategies of the interior designers who represent them and who define and control market trend.

The proclivity of many interior designers or decorators for rugs with neutral or soft coloration and less obtrusive, allover repeat designs is well known in the rug trade, and it should come as no surprise that rug dealers cater to such taste in the interest of selling rugs. But what is less clear is whether the designers are catering in turn to the taste of their clients, or whether they are in fact imposing their own taste for their own reasons on those clients. It is far easier to coordinate a room around an unobtrusive rug than to do so with a piece whose design and color make any kind of expressive artistic statement. But if decorators encouraged their clients to appreciate central medallion designs and the beauty of saturated vegetable dyes, and if they took the trouble to impart something of the history behind the designs, who is to say that market trend might not be vastly different than it is now.

Nor are collectors without responsibility for the polarized view of collectible and decorative rugs. Why is it that an outstanding Serapi, Bakshaish, or Sultanabad carpet should not be collectible, although few if any collectors would admit it? As marketplace rugs produced for commercial export, they apparently lack the cultural authenticity that is so enticing to collectors. But why? Serapi, Bakshaish, and Sultanabad carpets arose from a larger, conscious revival of traditional rug production in nineteenth-century Iran, much the same as nineteenth century Kazak, Karabagh, or Shirvan rugs represent a similar revival in the Caucasus. And why do we assume that pieces which still entice collectors – nomadic tribal rugs like Turkomans or the great village weavings of the Caucasus – would automatically have more cultural authenticity, when it is documented that their production in the late nineteenth century was fostered and controlled by the Czarist Russian government precisely for commercial export to the West? There can be no doubt that a divide between collector and decorative rugs is widely thought to exist among rug enthusiasts, but it predicated largely on subjective perspectives which have become so ingrained over time that they have acquired the status of unquestioned validity.

It may be useful to conclude by examining number 896 from the Nazmiyal Collection, seen above, a carpet that does not fall readily into the collectible or decorative categories, and which poses a sort of challenge to collectors and decorative rug buyers alike. This is an early twentieth century antique English piece produced as part of the Arts and Crafts Movement. Its design is based closely on classical Turkish rugs of the so-called Small Pattern Holbein type made in the fifteenth and sixteenth centuries. The field has a pattern of quatrefoil medallions and interlace roundels staggered alternately in vertical columns. The border is of the so-called “pseudo-Kufic type with interlacing reminiscent of the field, perhaps the most interesting border type known on Turkish rugs of this type. Even the coloration of the piece with its emphasis on reds, blue greens, aubergine, and gold flows the Turkish prototypes closely.

Now who would buy such a rug? Certainly no collector. But why not. The piece is a genuine Arts and Crafts antique, and like all good antiques it has the aura of another time and place. A collector would have the knowledge to appreciate the historical reference so central to the Arts and Crafts Movement. A collector, moreover, might appreciate this rug as the heir to a longstanding English tradition for imitating Holbein pattern rugs that began with needlework copies of Elizabethan times. At 10 x 12 feet, this piece would make an ideal room-size decorative rug for an owner with a collector mentality, especially since Small Pattern Holbein rugs themselves were never made in so large a size. Yet to acquire this piece a collector would have get beyond the idea that this is not an authentic, original early Turkish carpet. But what rug has such authenticity. We now know that the small pattern Holbein carpets were themselves close adaptations of earlier and contemporary Timurid carpets produced in Iran.

And how about decorative rug clients? Would they see this for the impressively decorative work of art that it is, or would they consider it “not decorative” because the colors were too strong, or the design too bold and dense. In actuality this rug would make a spectacular anchor or focus of a well-designed interior carefully coordinated with the right furniture and upholstery, or perhaps even with Arts and Crafts furnishings. And if the client were inclined such Arts and Crafts taste, might they not also enjoy the idea that the piece exemplified the Movement’s penchant for historical allusion or reference?

In the end, this carpet appears neither collectible nor decorative simply because received opinion would judge it in this way. It is perhaps time that antique rug collectors as well as the clientele for the decorative rug market and the interior designers who serve them all broaden their horizons somewhat. Pidgeon-holing categorizations are supposed to help people, but in reality they do not, they only provide constraints. As things stand now, Nazmiyal 896 poses an interesting question – how good can any standard of judgment be that would fail to accommodate a rug of such charm, beauty, and interest?

The Nazmiyal shawl is a classic example of the so-called “Millefleurs” type, extremely fine in its detail and execution, and remarkably subtle in its design and use of color. The exhibition will be up until January 6, 2008.

The annual meeting of the International Conference on Oriental Carpets is always an exciting event, but when it is held in Istanbul, one of the most exotic and romantic cities in Europe, and a center of carpet production and commerce for the past five hundred years or more, ICOC is simply “carpet heaven.” I stayed in the lovely Sultanahment district, the oldest part of the Ottoman city, where there were a number of related exhibitions. The TIEM (Turk ve Islam Eserleri Muzesi) mounted a spectacular show of early carpets from the Seljuk period, as well as various other oversize court carpets, Ushaks, etc. It was simply divine. The TIEM also put up an amazing selection of Ikats from the collection of Mehmet Cetinkaya. The Vakiflar Museum had two exhibitions of their incredible collection of early rugs as well, one on pile carpets, and one just for kilims. In conjunction with all this the Yildiz Palace held a memorial exhibition of kilims from the personal collection of the renowned expert Josephine Powell, who passed away last March.

However, wonderful all these official events may have been, the world-famous carpet dealers of Istanbul were not to be outdone. Understandably, there was a strong contingent of Turks at the Dealers’ Fair, but there were some Europeans and a few Americans as well. For me the high point here was the outstanding exhibition of Turkmen rugs presented by Seref Ozen of Istanbul’s Cocoon Gallery. For the really serious carpet enthusiasts, there was a wonderful program of lectures held at the Swiss Hotel, including a presentation by the pioneer scholar on Turkish village weaving and founder of Project DOBAG, Rainer Bohmer. What ever the nature of your interest in rugs, there was really something for everyone this year, and with the magic of Istanbul itself as the final ingredient, it was just about the best ICOC ever.