worked in polychrome blue, red, green and taupe silks, with embroidery, surface darning and running stitch, on plain weave linen, with repeat pattern geometric design of cartouches and lobed medallions, with delicate scrolls in cream colours as ground design; mounted on a stretcher, polychrome, animal designs

Colours are lighter, crisper and more defined overall in reality, compared to the image in the printed catalogue which is a bit yellow, and in reality there is an attractive sheen to the overall appearance in certain light, due to stitch used. Panel has been professionally lined and attached to a textile-covered stretcher, there is professional consolidation in areas across the panel, especially to areas where the darker original threads have oxidised, for example the curved foliate motif between each reserve. There is some of the dark original stitching visible, for example to these motifs in between the reserves across the central plane. Each corner has losses exposing lining beneath. The border is generally faded overall, especially the salmon-pinks and lime-greens, overall very balanced design, attractive architectural feel to the marquetry style composition.
"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."

Embroidered cloths were integral to everyday life, serving multiple functions, such as wrappers and covers. For a discussion of Azerbaijan embroideries, see Jennifer Wearden, 'A Synthesis of Contrasts,' Hali, issue 59, pp.102-111 and fig.16, p.110. Christine Klose notes that the design of a medallion flanked by diagonal cartouches came from Safavid tile patterns, see Christine Klose, "The Transformation of Rug Designs," Hali, vol.4, no.4, p.35. The compartment design  is also found in seventeenth-century Iranian carpets; an unusual silk and metal thread example with comparable field design is in The Hermitage (Inv. no. VT 1045), acquired in 1925 from the Stieglitz Museum, Leningrad (Piotrovsky and Rogers 2004, cat.58, pp.108-109). The design also surfaces in Caucasian carpets from the eighteenth century, for one example see Serare Yetkin, Early Caucasian Carpets in Turkey, London, 1978, pl.39;  the border design on the present cloth reappears in nineteenth century Shirvan rugs.  

For a comparable Azerbaijan silk embroidery, South Caucasus, late seventeenth/early eighteenth century (129 by 134cm), see Sotheby’s, New York, 31 January 2014, lot 6 (Azerbaijan embroideries from the Collection of Eugene Chesrow).