Measurements: Width across the top 108cm, width across the bottom 118cm, length up the left side 162cm, length up the right side 158cm. Pile overall close and evenly sheared, approximately 2mm deep. Generally in very good condition with some oxidised browns to knot-bars and foundation, in some areas within the inner guard stripe. Areas of reweave in the upper left hand corner of border, two irregularly shaped reweave and cobbling, one 7 by 4cm and another 4 by 5cm. quite well executed, visible slightly raised pile on face. Another two irregularly shaped reweaves approximately central of top border, one 9 by 8cm., and another 9 by 10cm. to extremities. Two small reweaves in upper right hand corner border, 3 by 2cm and 3 by 3cm, irregularly shaped. Small cobbled repairs at bottom of central diamond in hanging lamp and either side of central lamp chain. Small reweave approx. 1.5 by 1cm at top tip of central medallion. Small reweave in outer edge of left hand border, approx. 50cm. from the top, irregularly shaped, 7 by 5cm at extremities. There is a cobbled 2.5 by 1.5cm irregularly shaped repair in centre of central medallion. Three irregularly shaped reweaves each approx. 2 by 4cm. in lower section of blue ground of medallion. Handful of small cobbled repairs, only visible on reverse in lower part of field. Reweave in lower central portion of lower border, approx. 4 by 5cm. another in lower left hand corner of border, approx. 2 by 1.5cm. A number of minor areas of restoration in left hand guard stripe and section of reweave, approximately 14 by 4cm. at extremities to included lower left hand corner and repaired kilim section approx. 6cm. wide, tinted to blend in with original kilim. Scattered small minor repairs to right hand guard along edges. Lower section of kilim 7.5cm. is restored, similar to lower right hand corner. Small sections, approx. 5cm. of far left hand corner restored and approx. 4cm of right hand corner. Otherwise kilim ends and fringing are original. Sides bound in red cotton velvet tape with hanging loops attached to reverse on left hand side. Some partial original side cords visible. Lazy lines visible on reverse. Very minor fold wear on central left hand side of field, adjacent to guard stripe. Overall in outstanding condition, with clear bright colour and crisp drawing.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The example offered here belongs to a group of revered and distinctive small medallion rugs woven in Oushak in the 16^th & 17^th century. Around twelve examples with similar medallion, spandrels and borders to the present piece were considered known by Ellis, C.G., Oriental Carpets in the Philadelphia Museum of Art, Philadelphia, 1988, pg. 83. Numerous examples of less closely related double niche Oushak rugs have been published, see Frances, M., and Pinner, R., ‘Turkish Carpets in the Victoria and Albert Museum’, Hali, 1984, Vol.6, no.4. pp. 357-381, with the authors positing the survival of around 100 of the various double niche rugs in total, noting that photographs of seventy examples of rugs of this type were examined by Erdmann. These small medallion Oushak rugs must have been highly sought after at their time of manufacture for this number of pieces to have survived over four hundred years. There were variations in the designs. The double niche field design is divided into two groups, both of which were in production at the same time, one with cloudband spandrels (more commonly recorded) and the other with angular arabesques, such as the present example, which were inspired by the early Star Oushak carpets in design. The border designs similarly are of cloudband style or more angular vine and split palmette design, as in the present lot. The inner and outer guard stripes of this piece are of the design often associated with the border type and show the least variance in overall design. 

Their popularity in the West is evident by their appearance in European paintings, however unlike the group with the cloudband border which goes back to the early 16th century, there is no evidence from paintings that the present design combination is that early, but they were certainly still being made in the 17th century. See an example of a cloudband rug within the composition of the 16th century painting 'Calling of St. Matthew', by Girolamo da Santacroce, which is signed and dated 1519, Bassano, Museo Civico (see Berenson, B, Italian Pictures of the Renaissance; A list of the principal artists and their works with an index of places, Ve🗹netian School, Volume 1, London, 1957, pg. 153, black and white pl.575ღ).

For very similar examples of small medallion double niche rugs at auction, with the same colouration, distinctive border design, inner and outer narrow guard stripes, double niche main field with hanging lantern, and delicate trellis spandrel design, see Rippon-Bowell, Wiesbaden, 28 May 2011, lot 237, Sotheby’s, London 25^th April 2012, lot 690, 17^th century (161 by 112cm), Christie’s, London, 17 October 1996, lot 425, 16^th century (160 by 119cm), Sotheby’s, London, 19 July 1989, lot 115, 17^th century (218 by 135cm) and Sotheby’s, New York, 24 September 1991, lot 58, from the Estate of James A. Lucas, mid 16^th century (160 by 114cm). For an example with the golden trellis spandrels, as opposed to indigo, which are more unusual and rarely found in known comparables, see Rippon-Bowell, Wiesbaden,11th May 1991, lot 114 (sec♏ond half 16th century; approx. 162 by 116cm).

The offered piece is most similar, in the combination of the classical double niche design motifs, to the example recorded in the Budapest Museum of Applied Art, see Batári, F., Ottoman Carpets, 1994, Budapest, pl.43, pg. 133, circa 1600 (157 by 111cm); formerly from the Emil Delm&꧋aacute;r Collection, and to other examples in the Williamsburg and Philadelphia Museum of Art.  The two directional composition is similar to the larger Oushak carpets, taking inspiration from the Star Oushak carpet designs, and the motif of the hanging lamp is comparable to that of a small prayer rugs and not the larger carpets.  In addition to the more unusual golden trellis spandrels, this offered example also has a border design with the orientation of the design with the arabesque pointing outwards from the linking scroll which is around and eminating from the inner guard, creating a visual balance to the design (see the 28 May 2011, lot 237, Rippon-Boswell example for the same border design and orientation). The balance and proportions of the design, the skilled drawing, saturated and vibrant colours, and the retention of an even overall pile, make this offered piece a classic and extraoꦆrdinary survivor of this distinctive and notable small medallion double niche group.

Literature for compꦿarable small medallion double niche Oushak rugs:

Batári, F., Ottoman Carpets, The Collections of the Museum of Applied Arts, Budapest, I, 1994, Budapest, pl.43, pg. 133;
Ellis, C.G., Oriental Carpets in the Philadelphia Museum of Art, Philadelphia, 1988, pl. 28 & 29. (Ellis recorded eleven examples with similar medallion, spandrels and borders to the present piece, two being in the Philadelphia Museum of Art, and mentioned a twelfth ‘unknown’ example: see Sotheby’s, New York, 24 September 1991, lot 58);
Erdmann, K, Der Orientalische Knupfteppich, Tubingen, 1955, fig. 145. Coll. W. Bode;
Erdrmann, K, Exhibition catalogue, Museum fur Kunst und Gewerbe, Orientalische Teppiche aus vier Jahrhunderten, Hamburg, 1950, fig.15 (south German private collection);
Erdmann, K, Seven Hundred years of Oriental Carpets, 1970, pg.155;
King, D and Sylvester, D, The Eastern Carpet in the Western World: From the 15^th to the 17^th century, London, 1983, no.47. (in the Museum of Applied Arts, Budapest, see Batári);
Lanier, M.B., English and Oriental Carpets at Williamsburg, Williamsburg, 1975, pl.24;
McMullan, J.V., Islamic Carpets, New York, 1965, pl.82, (now in the Metropolitan Museum of Art);
Spuhler, F., Oriental Carpets in the Museum of Islamic Art, Berlin, Washington D.C., 1987, pl.17;
Spuhler, F., König, H, Volkmann, M, Alte Orientteppiche, Meisterstücke aus deutschen Privatsammlungen, 1978, Munich, pp.46-47;
Vegh, G and Layer, K, Tapis Turcs: Provenant de eglises et collections de Transylvanie, Paris, 1925, pl. IX, in the Black Church, Brasov, Transylvania;
Grote-Hasenbalg, W., Der Orientteppich, Seine Geschichte und seine Kultur, Berlin, 1922, Vol. II, pl.3.