2: IBERIAN & EAST MEDITERRANEAN CARPETS IN THE - Hali

MUSEUM COLLECTIONS
NOTES
1 George Hewitt Myers, founder of the
Textile Museum, Washington DC, was
one of several collectors and connoisseurs
in the first half of the 20th century
who greatly admired Spanish and East
Mediterranean carpets. He acquired 22
Spanish carpets from the classical period
as well as 31 East Mediterranean carpets
(16 Mamluk-style Egyptian rugs, ten Ottoman-style
Egyptian rugs and five ‘Damascus’
rugs), published in two separate monographs
(Textile Museum 1953, 1957).
2 Those with important large collections
have included: Count Johannes von Welczeck,
George Hewitt Meyers, Don José
de Weissberger, Charles Deering, Wendy
and Emery Reves. Other collectors have
had a number of examples, including:
Archer Milton Huntington, John D.
McIlhenny, Joseph Lees Williams,
George Blumenthal, the Marquis de
Valverde, James F. Ballard, John Emery,
Baron & Baroness Thyssen-Bornemisza,
the Marquesa de Bermejillo del Rey,
Sidney A. Charlat, Marino & Clara
Dall’Oglio and Frederick Pratt.
3 To name but a few: Vitall Benguiat and
Mayorcas in New York; Böhler, Munich;
Adolfo Loewi, Venice; Stefano Bardini,
Florence; Michel Campana and Elio Cittone
in Milan; Lionel Harris, Jekyll’s and C. John
in London; and Sammy Tarica, Yves Mikaeloff,
Masson, Benadava and Catan in Paris.
Interestingly, most of the examples were
acquired by dealers of Spanish Sephardic
origins and few by Armenian dealers.
4 These illustrations of classical Spanish
knotted-pile carpets have been taken
from museum inventories and archives,
the carpet literature, sale catalogues and
examples that have come to the market.
I am sure that these records are by no
means complete and it is possible that as
many as 150 further items are not recorded,
but it is unlikely that any important
early example would not have been
published and come to my attention. The
major museums with Spanish carpets
are in Madrid, Berlin, London, New York,
Miami, Dallas and Washington, with individual
notable examples in Paris, St Louis,
Cleveland and Detroit. Over the past
thirty years, 29 examples have passed
through my studio in London.
5 The latter coming from Arraiolos, where
workshops were certainly started in the
16th century; many of the oldest examples
copy Safavid Iranian carpets, others
copy Anatolian rugs and Arraiolos carpets.
6 Examples can be found in: Museum of
Islamic Art, Cairo; Textile Museum, Washington
DC; Metropolitan Museum of Art,
New York; National Museum, Stockholm;
Röhss Museum, Gothenburg; Keir Collection,
Ham; Museum of Islamic Art, Doha
(MIAQ), Benaki Museum, Athens.
7 E.g., Crouching lion rug. Incomplete,
possibly originally 178 x 312cm. 1st to
84 HALI ISSUE 157
3rd century AD. Xinjiang Institute of Archaeology,
Urumqi, no.M15:1. Excavated at
Yingpan, tomb no.15. Published: König
1999, p.87; Li 2002, pp.7, 11 (detail and
reconstruction, with technical description);
Li 2006, pp.254–5, figs.198, 199 (with
diagram of structure showing single warp
offset knotting).
8 Serjeant 1972, p.175 (referring to
Al-Himyari 1938, p.112, trans., p.138):
“They used to make fine and valuable
carpets (busut) at Murcia. The people of
Murcia have unequalled skill in manufacturing
and decorating these carpets.”
9 (1) Sages and Virtues carpet. Mid-12th
century. 64 x 182cm, section. Halberstadt
Cathedral Treasury. Published: Wilckens
1992, pp.103, 105, figs.10, 12.
(2) Border fragment with palmettes. 12th
century. 20 x 400cm. Halberstadt Cathedral
Treasury. Published: Wilckens 1992,
pp.103, 105, fig.13.
(3) Wedding of Mercury and Philologia
carpet. (a–e) Five fragments (originally
590 x 740cm). 1186–1203. Quedlinburg
Cathedral Treasury. Published: Kurth 1926,
I, pp.53–67, fig.26,II, pls.12–21, 22b;
Nickel 1976; Wilckens 1992. (f) One fragment.
Whereabouts unknown. Formerly:
Welczek Collection, Austria (to 1945).
Published: Kurth 1926, II, pl.21a; Wilckens
1992, p.100 (cited).
10 Two paintings depicting early Spanish
carpets that have been cut and reduced
in size: (1) Presentation in the Temple.
Francisco Henriques, ca. 1508–1511. Oil
on wood, 88 x 15cm. Museu de Alpiarça,
Alpiarça. From the altarpiece of the main
chapel of the church in the Convento de
São Francisco, Évora. Published: Lisbon
2007, p.59. Carpet with octagons and
lozenge pattern. (2) Mass of Saint Gregory.
Francisco Henriques, c. 1508–1511.
Oil on wood, 88 x 121.5cm. Museu
Nacional de Arte Antiga, Lisbon. From
the altarpiece of the main chapel of the
church in the Convento de São Francisco,
Évora. Published: Lisbon 2007, p.60;
Mills 2007, p.134, fig.2. Carpet with
design of stars in octagons and lozenges,
‘Kufic’ border.
11 May Beattie (1986, p.273), in her
study of the ‘Admiral’ carpets, pointed
out that it is impossible to estimate the
number of surviving examples: “Without
considering border fragments, two or
more pieces may be from a single rug,
and conversely, the skilful joining and
patching of carpets carried out in Spanish
convents points to the possibility of
several parts of different rugs being
combined into what, in a photograph,
appears to be a complete carpet.”
12 I have yet to find a document to
confirm this. Eleanor of Castile was
married in October 1254 at the age of
ten to King Edward I of England, then
fifteen, at Las Huelgas .
13 By Matteo di Giovanetti da Viterbo. It
is not certain that the Popes’ carpets are
Spanish – it is possible that they were
made in France in the Spanish style. For
more than 300 years from the early 13th
century in Paris, two separate guilds of
carpet-makers existed side by side, the
Tapiciers sarrazinois and the Tapiciers
nostres. As the name implies, the Saracenic
carpet weavers were engaged in
manufacturing carpets based upon Eastern
originals, while the other guild produced
carpets in a local style. [Pinner]
1978, taken from Boileau 1897.
14 King 1986, pp.131–7.
15 Madrid 1933.
16 It is known from paintings and documents
that both Spanish and oriental
carpets were used in European churches
and synagogues from the Middle Ages
onwards; some were made specifically
for altars or as ark curtains, probably
ordered by wealthy patrons. The Von
Bode synagogue rug. 14th century. 95 x
385cm. Museum of Islamic Art, Berlin,
no.I.27, acquired 1906. Formerly: Reportedly
from a church in the Tyrol district,
1880s; art market, Munich, 1884; Wilhelm
Bode. Published: Bode, 1892, p.49 (cited);
Bode 1901, p.115, fig.79 (drawing); Sarre
1907; Thomson 1910, pl.IIc; Kendrick and
Tattersall 1922, vol.II, pl.77A (drawing);
Neugebauer and Orendi 1923, p.8, fig.2
(drawing); Faraday 1927(1), p.9, fig.6
(detail); Faraday 1929, 1990, p.35, fig.5
(detail); Sarre, 1930 (detail); Erdmann
1970, p.143, fig.181 (detail); Sherrill 1974,
p.532, fig.1 (detail); Curatola 1981, no.141;
London 1983, pp.33, 50–51, no.3; Wearden
1985, p.205, fig.a; Sánchez Ferrer
1986, pp.290–1, pl.V (detail, with structure
analysis); Day 1989, p.316, fig.313;
Berlin 1995, pp.23, 28, no.8; Sherrill
1996, p.31, pl.20; Felton 1997, pl.1;
Thyssen-Bornemisza Collection 1998,
p.239, fig.1.
17 Pinner 1986, p.295.
18 The field and border patterns on one
carpet were clealry changed as the rug
was being made. The Myers palmettes in
interlaced lattice carpet. Mid- to second
half 15th century. 184 x 219cm, incomplete
in length. Textile Museum, Washington
DC, no.R44.4.2 (R84.10). Formerly:
George Hewitt Myers Collection, acquired
1927. Published: American Art Association,
New York, 30 April 1927, lot 1040,
p.335; Textile Museum 1953, p.11, pls.IX
–XI (with structure analysis); Weeks and
Treganowan 1969, p.13, top (detail); Washington
DC 1972, no.35 (cited); Mackie
1977, p.25, fig.13; Sánchez Ferrer 1986,
pp.394–5, pl.LVII (with structure analysis);
Sherrill 1996, p 41, pl.36; Isaacson 1998,
p.79, fig.2; Bier 2003(1), p.42, fig.3; Washington
DC 2003, pp.28, 284, fig.26 (with
structure analysis). Exhibited: Washington
DC 1972; Washington DC 2003, ‘Carpets
of Andalusia’. Blue ground; lower part
has a different design, similar to borders
of armorial carpets.
19 After the Popes’ fresco in Avignon,
dating from the first half of the 14th
century, a number of other carpets with
small lattice field designs are depicted in
paintings from the early 16th century
(see note 10 above, and Lisbon 2007).
20 Seven have identifiable coats-of-arms;
three of these may be complete, and
the others are shortened in length. Two
shortened carpets have unidentified
blazons. Five shortened carpets, mostly
still with their borders, are without
blazons. Fragments survive from at
least thirteen other such carpets.
21 Beattie 1986.
22 May 1945; Beattie 1986.
23 One example depicts a wild boar, not
an appropriate subject for an Islamic rug.
It may well be that the Admiral carpets
were woven by Muslim weavers to
patterns supplied by their clients.
24 The so-called ‘Kufic’ border also resembles
the elem on Salor Turkmen door
rugs or ensi. These unusual patterns were
surely part of a tradition that drew upon
both local textile designs and imported
carpets and textiles for inspiration.
25 Pinner 1986 lists some forty documents
between 1527–1622 that refer to
Turkish carpets in Spanish inventories,
some with ‘Kufic’ borders with interlace.
26 Two Spanish carpets with the interlaced
medallion ‘small-pattern’ Holbein
design: (1) The Boston interlaced medallion
carpet. 106 x 462cm. Museum of
Fine Arts, Boston, no.39.614. Published:
Erdmann 1960, fig.175 (detail); Schlosser
1963, p.174, fig.100 (detail); Erdmann
1970, p.210, fig.271; Washington DC
1972, no.28 (cited); Sherrill 1974, p.541,
pl.III; Mackie 1979, p.92, fig.20; Denny
1978, p.157, fig.1; Denny 1982, p.332,
fig.5 (detail); London 1983, pp.36, 53,
no.7; Ellis 1986, p.172, fig.10; Day 1989,
p.320, fig.316; HALI 52, 1990, p.131
(detail); Gantzhorn 1991, p.233, fig.344;
Sherrill 1996, p.36, pl.26; HALI 99, 1998,
p.84 (detail). Exhibited: Washington DC
1972; London 1983; Boston, Museum
of Fine Arts, ‘Ten Great Carpets’, 1977;
Boston, Museum of Fine Arts, ‘Oriental
Carpets and Kilims’, 23 July 1990 to early
January 1991; Boston, Museum of Fine
Arts, ‘Ambassadors from the East: Oriental
Carpets in the Museum of Fine Arts, Boston’,
29 September 1998 to 24 January
1999. (2) The Loewi interlaced medallion
carpet. 155 x 290cm. Textile Museum,
Washington DC, no.R44.3.1 (R84.6),
acquired 1926. Formerly: Adolfo Loewi
Collection, Venice; George Hewitt Myers
Collection. Published: Textile Museum
1953, p.27, pls XXIV–XXV (with structure
analysis); Mackie 1979, p.93, fig.22;
Mackie and Thompson 1980, p.21, fig.8
(detail); Bier 2003(1), p.42, fig.2 (detail);
Washington DC 2003, pp.22, 283 (with
structure analysis); Bier 2004, p.13.
27 The Welczeck endless knot design
carpet. Late 15th or early 16th century.
Formerly: Count Welczeck Collection.
(a) 75 x 250cm, section of field and border.
Wher Collection. Formerly: The Textile
Gallery, London. Published: Gantzhorn
1991, p.222, fig.334; Enderlein 1993,
p.91, fig.12; HALI 108, 2000, p.75 (detail);
Milan 1999, p.185, no.166 (with structure
analysis). Exhibited: Milan 1999. (b) 62 x
250cm, section of field and border. Chris
Alexander Collection, Berkeley. Formerly:
The Textile Gallery, London; Wher Collection.
Published: Lefevre, London, 18 June
1982, lot 24; HALI 4/3, 1982, p.52; Gantzhorn
1991, p.222, fig.334; Alexander Collection
1993, pp.114–15; Bennett 1994,
p.89, fig.7); Milan 1999, p.185, no.166
(cited). (c) 186 x 297cm, section of field
and border. Museum für angewandte
Kunst, Frankfurt, no.12975/3889. Published:
Museum für angewandte Kunst,
Frankfurt, Neuerwerbungen, 1956–1974,
pl.53; Hubel 1971, p.295, fig.154 (detail,
with structure analysis); Milan 1999, p.185,
no.166 (cited). (d) Incomplete, bottom half,
reduced in width? Whereabouts unknown.
Published: Torres 1942, fig.20; Gamal 1963;
Alexander Collection 1993, pp.114–19
(“Although current dating has tended to
ascribe this carpet a 15th century date, I
am certain in my own mind that this
dating is not correct…This carpet was
probably woven in the 10th or 11th
century and certainly no later than the
12th” [sic].) John Mills has mentioned in
conversation the relationship of the field
design of this carpet to certain ceiling
designs in southern Spain.
28 Two Spanish carpets with rows of
small octagons: (1) The Lionel Harris
thirty octagons carpet. 214 x 460cm.
Victoria & Albert Museum, London,
no.T.104-1912. Formerly: Reportedly
from a convent in Spain; Lionel Harris
& Co., London. Published: Victoria and
Albert Museum 1915, no.345, pl.XXXIX
(detail); Réal [1925], pl.XXI (detail); Kendrick
and Tattersall 1922, vol.II, pl.77B
(detail); Ferrandis Torres 1942, fig.19;
Gamal 1963; Sherrill 1974, p.540, fig.9;
Mackie 1979, p.93, fig.25; Pagnano 1983,
pl 235; Wearden 1985, p.207, fig.b; Sánchez
Ferrer 1986, pp.354–5, pl.XXXVII
(with structure analysis); Gantzhorn 1991,
p.232, fig.343; Bennett 2004, p.268.
(2) The Welczeck small octagons carpet.
38 x 70cm, fragment. Whereabouts
unknown. Formely: Count Welczeck
Collection. Published: Madrid 1933,
p.108, no.13, pl.X (detail). Exhibited:
Madrid 1933.
29 E.g., Stories from the Life of St Ursula.
Vittore Carpaccio (Venice 1472 – Capodistria
1526), (1490–96), tempera on canvas.
Gallerie dell’Accademia, Venice.
30 Annunciation with Saint Emidius. Carlo
Crivelli (Venice – about 1430/5 – about
1494), 1486. Egg tempera and oil on
canvas transferred from wood, 207 x
146.7cm. National Gallery, London,
no.NG739.
31 Pentecost. Anonymous [possibly
Garcia Fernandes, Portuguese Royal
painter, died 1565], ca. 1530. Oil on wood,
132.5 x 165cm. Ermida de Nossa Senhora
dos Remédios, Lisbon. Published: Lisbon
2007, p.62, no 6. The carpet has at least
two columns and four rows; at each end
is an extra panel with bird-like creatures
separated by ‘Kufic’-style uprights.
32 The Convent of Santa Ursula large
octagon carpet. (a) Lower part, 103 x
250cm, three octagons. MIAQ, no.CA24.
Formerly: Reportedly from the Convent
of Santa Ursula, Guadalajara; Adolfo Loewi
Collection, Venice, no.7.419b; Benedava,
Paris; Wher Collection. Published: Ferrandis
Torres 1942, fig.15; Gamal 1963;
Milan, Palazzo Reale, 1974; Ellis 1986,
p.168, fig.6. (b) Upper part, 97 x 390cm,
four octagons. Textile Museum, Washington
DC, no.R44.2.2 (R84.12), acquired
1931. Formerly: Reportedly from the
Convent of Santa Ursula, Guadalajara;
Adolfo Loewi Collection, Venice; George
Hewitt Myers Collection, Washington
DC. Published: Textile Museum 1953,
p.17, pls. XVI–XVII (with structure analysis);
Bunt 1966, fig.46; Weeks and Treganowan
1969, p.19, right (detail); Washington
DC 1972, no.30 (cited); Sherrill
1974, p.535, fig.5; Mackie 1977, p 26,
fig.15; Mackie 1979, p.91, fig.12; Collins
1988, p.42; Gantzhorn 1991, p.229,
fig.340; Sherrill 1996, p 37, pl.28; Washington
DC 2003, pp.25, 283, fig 23 (with
structure analysis); Bier 2004, pp.12–13.
Exhibited: Washington DC 1972; Washington
DC, 2003, ‘Carpets of Andalusia’.
33 Although the Venetian painter Lorenzo
Lotto depicted carpets of this type only
twice in approximately 250 known works
– both fairly late in his career, in 1542 and
1547 – his name has become irrevocably
linked with them: Sant’ Antonio Elemosinario
Giving Alms, 1542, church of SS.
Giovanni e Paolo, Venice (Mills 1981,
p.283, no.11); Family Portrait Group, 1547,
National Gallery, London (Mills 1981,
pp.280–1, no.12). The earliest verifiable
depiction in a European painting of an
Anatolian arabesque rug is in fact in a
painting by the Venetian artist Sebastiano
del Piombo (ca. 1486, Venice – 1547,
Rome), dated 1516, in the National Gallery,
Washington DC: Cardinal Bandinello
Sauli, His Secretary and Two Geographers
(Mills 1981, p.281, no.1).
34 The Qatar arabesque carpet. 16th
century. 283 x 549cm. MIAQ, no.TE26.
Formerly: Private collection, Switzerland.
Published: Christie’s, London, 14 October
1999, lot 100; HALI 106, 1999, p.132;
HALI 108, 2000, p.131 (detail).
35 Some Spanish carnation carpets:
(1) The Madrid carnation carpet. (a) 128 x
199cm. Museo del Instituto Valencia de
Don Juan, Madrid. Published: Sánchez
Ferrer 1986, pp.356–7, pl.XXXVIII (with
structure analysis). (b) 50 x 65cm, section.
Whereabouts unknown. Formerly: Livinio
Stuyck Collection, Madrid. Published:
Madrid 1933, p.107, no.9, pl.VIII (detail).
Exhibited: Madrid 1933. (2) The Valverde
carnation carpet. 52 x 62cm, section.
Museo del Instituto Valencia de Don Juan,
Madrid. Formerly: Marquis de Valverde
Collection. Published: Faraday 1927(1),
p.12, fig.12 (detail); Faraday 1929/1990,
p.37, fig.11 (detail); Sánchez Ferrer 1986,
pp 360–1, pl.XL (detail, with structure
analysis). (3) The Ballard carnation carpet.
140 x 275cm. Metropolitan Museum of
Art, New York, no.22.100.124. Formerly:
James F. Ballard Collection. Published:
New York 1923, no.127; Metropolitan
Museum of Art 1973, pp.259, 263, no.155,
fig.224 (with structure analysis). Exhibited:
New York 1923. (4) The Krauth carnation
carpet. 94 x 132cm, section. Museum of
Islamic Art, Berlin, no.KGM 81.382. Formerly:
Consul Krauth, Krefeld, in 1888;
Kunstgewerbemuseum, Berlin. Published:
Museum of Islamic Art 1988, pp.122 and
283, no.144 (with structure analysis). (5)
The Toledo carnation carpet. Private collection,
New York. Formerly: Said to be
from a convent chapel, Toledo; Lenygon
& Co., London; Vojtech Blau, New York;
The Textile Gallery, London. (a) 270 x
288cm, bottom half. Published: Thomson
1910, p.109 (detail); Sánchez Ferrer 1986,
pp.364–5, pl.XLII (detail, with structure
analysis); Lefevre, London, 2 April 1976,
lot 7 (with detail on front cover); Sotheby’s,
New York, 7 April 1992, lot 74 (with
structure analysis). (b) 298 x 286cm, top
half. Published: Lefevre, London, 2 April
1976, lot 7 (with detail on front cover);
Sotheby’s, New York, 13 April 1995, lot
139 (with structure analysis). (6) The
Emery carnation carpet. 287 x 620cm.
Cincinnati Museum of Art, no.1966.638.
Formerly: John Emery Collection. Published:
Adams 1971, p.273 (detail); Cincinnati
Art Museum Bulletin, vol.9, nos.1–2,
p.55, June 1971; The Art Quarterly,
vol.XXIX, nos 3–4, p.298, 1966; Lefevre,
London, 2 April 1976, lot 7 (cited); Masterpieces
from the Cincinnati Art Museum,
1984, p.42. Almost the pair to the Toledo
carpet. (7) The Spier carnation carpet. 56 x
48cm, section. Victoria & Albert Museum,
London, no.T.335-1920, gift of J. Spier.
Published: Sánchez Ferrer 1986, pp.362–3,
pl.XLI (with structure analysis); Day 1989,
p.324, fig.320.
36 Some Spanish carpets with the ‘European’
carnation pattern: (1) The Marquesa
de Bermejillo del Rey carnation carpet.
MUSEUM COLLECTIONS
435 x 220cm. Museo Nacional de Artes
Decorativas, Madrid, no.19.222. Formerly:
Marquesa de Bermejillo del Rey. Published:
Madrid 1933, p.114, no.47, pl.XXXVIII (detail);
Museo Nacional de Artes Decorativas
2002, pp.100–101, pl.27. Exhibited: Madrid
1933. (2) The Welczeck carnation carpet.
153 x 28cm. Whereabouts unknown.
Formerly: Count de Welczeck Collection.
Published: Madrid 1933, p.109, no.18,
pl.XIII (detail); Sánchez Ferrer 1986,
pp.366–7, pl.XLIII (detail, with structure
analysis). Exhibited: Madrid 1933. (3) The
Victoria & Albert Museum carnation carpet.
150 x 292cm. Victoria and Albert Museum,
London, no.T.604-1893. Published: Martin
1908, p.137, fig.350 (detail). (4) The
Welczeck medallion and carnation carpet.
105 x 182cm. Whereabouts unknown.
Formerly: Count de Welczeck Collection.
Published: Madrid 1933, p.109, no.17,
pl.XII. Exhibited: Madrid 1933.
37 Two Spanish carpets with a cloud
design from Chinese Mongol silks:
(1) The Dumbarton Oaks clouds carpet.
152 x 373cm. Textile Museum, Washington
DC, no.1976.10.3. Formerly: Dumbarton
Oaks Collection. Published: Washington
DC 1972, no.37 (cited); Mackie 1977,
p.28, 31, fig.17 (with structure analysis);
HALI 1/2, 1978, p.166 (detail); Mackie
1979, p.94, fig.29; New York 1992,
pp.344–5, no.102; Sherrill 1996, p.34,
pl.23 (detail); Bier 1996(1), p.69, fig.32;
Bier 2003(1), p.43, fig.6 (detail); Washington
DC 2003, pp.27, 283, fig.25 (with
structure analysis). Exhibited: Washington
DC 1972; Washington DC 2003. (2) The
Madrid clouds carpet. Section. Museo
Nacional de Artes Decorativas, Madrid,
no.1.742. Published: Museo Nacional de
Artes Decorativas 2002, p.96, pl.24.
Two Turkish rugs with a cloud pattern
from Chinese Mongol silks: (1) The Alaeddin
Mongol silk pattern rug. Central
Anatolia, 14th century. 121 x 240cm.
Museum of Turkish and Islamic Arts,
Istanbul, no.688. Formerly: Alaeddin
Mosque, Konya. Published: Aslanapa
1961, pl.V (detail); Erdmann 1970, p.96,
fig.26; Aslanapa 1971, pl.XIV; Mackie
1977, fig.18; Yetkin 1981, pl.6 (detail);
[Anon] 1988, pattern code 0108; Aslanapa
1988, p.21, pl.7; Day 1989, p.45, top
left; Museum of Turkish and Islamic Arts
1993, p.206, pl.115 (detail); Ölçer et al.
1996, p.7, pl.4. (2) The Bardini Mongol
silk pattern rug. Ushak, late 15th century.
Possibly originally 75 x 350cm. (a) 57.5 x
156cm, section. Museum of Islamic Art,
Berlin, no.1885. 985. Formerly: Wilhelm
Bode; Kunstgewerbemuseum, Berlin.
Published: Enderlein 1979, fig.1; Florence
1999, p.74 (cited); Beselin 2005, p.66,
pl.50 (with structure analysis). (b) 61 x
165cm, section. Bardini Museum, Florence.
Published: Florence 1999, pp.74–5, no.22.
Two Mongol cloud pattern silks, 13th–14th
HALI ISSUE 157 85