An Oushak 'Lotto' rug, West Anatolia

Herrmann, Eberhart., Seltene Orientteppiche, V, 1983, Cat. No. 2, pp. 10-11.

Overall measurements: 117cm across the top, 124cm across the bottom, 177cm along the left, 174cm along the right. Flexible handle, generally even 1-2mm pile overall. There are scattered area of re-piling, for example within the main field central vertical orientation, probably from old fold damage. Longest two within centre approximately 15cm long and 14cm long. There are re-piles and re-woven sections to outer edges including outer most edge of guard stripe the length of right side. Along the lower edge there are minor repairs sections in the left hand corner and centre left side and centre with surface tinting. The left hand side also has sections of re-weave and re-piling. again with surface tinting on the outermost edges, visible as areas of slightly flatter colour. Later soumac overlocking to both ends with fringing of which lower left section is later. This an evocative piece of its type with classic field balanced by a particularly vibrant early and unusual border. It is in overall very good and honest condition for age.
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'Lotto' rugs are so called after their depiction by the Italian painter Lorenzo Lotto (c. 1480 – 1556), as in his work ‘The Alms of St. Anthony’ of 1542, although they also appear in other and earlier works such as Sebastiano del Piombo's ‘Cardinal Bandinello Sauli’, of 1516, indicating the earliest examples are at least very early 16th century.

These beautiful courtly works are made all the more fascinating by the geometry of their designs; ‘Lotto’ field designs have been sub-divided into three groups – ‘Ornamented’, ‘Anatolian’ and ‘Kilim’ broadly describing the relative apparent complexity of the motifs and pattern.  However, as is the case in the present ‘Anatolian’ example, on close analysis one can see how a subsidiary underlying repeat design of interlocking geometric shapes such as diamonds, octagons, and circles, structures the pattern, see ‘Multiple and Substrate Designs in Early Anatolian & East Mediterranean Carpets’, Pinner, R., Hali, 1988, issue 42, pp. 27 -30. See also the diagrams illustrated online at sothebys.com.

It is interesting to note  the apparent relationship between the geometric 'substrate' design of the ‘Lotto’ works and the design of the celebrated wedding trappings, or Kejebe, of the Salor tribe of Turkmenistan. The interlaced circles and diamonds, which are framed by the octagonal motifs making clear pillared divides, have a remarkable likeness to these bridal dowries. Also note the elements within the pedimented pillars of the Kejebe design which hearken to the quatrefoil ends in the 'Lotto' pattern. For an example, see Sotheby's London, 3 November 2015, lot 1.  Of course, octagons in Turkish carpet and rug design are not uncommon, as discussed in Carpets and Textiles in the Iranian World 1400 – 1700, Thompson, J., 2010, Chpt III, Carpets in the Fifteenth Century, pp. 48 - 53. Here Dr Thompson uses a detail of another Salor wedding trapping to demonstrate the possibility of the adoption of the octagon motif by the tribe during the Timurid period, remaining relatively unchanged for 500 years, Thompson fig. 24. He also discusses their appearance in earlier weavings, including those of early 15th century Egypt and Spain. 

The use of the indigo vine and ragged palmette border is very rare in extant ‘Lotto’ rugs. A ‘Star’ Oushak in the Metropolitan Museum in New York, formerly in the James F. Ballard Collection, (acc no. 22.100.110) shares a very similar main border to the offered 'Lotto' and the border design and colour range is seen in other 'Star' Oushaks, for examples see John Taylor's archive 'Ushakistan' (www.rugtracker.com/2015/09/ushakistan.html accessed 24 Aug 2016). Herrmann considers the use of this border is indicative of an early 'Lotto', Herrmann, E., Seltene Orientteppiche V, 1983, cat. no. 2, p. 11. This view was further popularised by Stefano Ionescu in his published work Antique Ottoman Rugs in Transylvania, 2005, Chp III, pp. 47 - 52, where he illustrates known 16th and early 17th century examples in particular the 16th century ‘Anatolian’ Lotto in the Black Church, Brașov, cat. no. 16, and the fragment now in the Brukenthal museum, cat. no. 21, both of which share qualities with the offered work including a blue border, but decorated with a simplified meander. A later geometricised version of this border can also be seen in lot 18 in this sale.