Number 2119
Type Workshop
Material Wool
Style Medallion
Origin Kashan
Size 456 x 321
Age 1920
ππ¨π²ππ₯ πππ ππ’π π§ππ ππππ’π« πππ πππ₯πππ πππ«π©ππ ππ’ππ‘ ππ«π¨π°π§ & ππ¨π²ππ₯ ππ’π¨π§
An intact masterpiece commissioned by the royal palace in the early 1900s from the workshop of the legendary Grand Master Mohammad Dabir Al Sanaye.
The beautiful symmetry of the abstract field is broken by the royal Persian crown of the Shah at the top end. The crown, amazingly, contains another crown as well as the Shir o Khorshid, the royal Persian emblem of Lion & Sun π π¦ π
Such (very rare) carpets are called Darbari Ψ―Ψ±Ψ¨Ψ§Ψ±Ϋ from the word Darbar meaning royal court. It came into English via the Raj in India as durbar. The Shahβs palace ordered it and thus the artist (Dabir) had the privilege of weaving the royal crown inside as a mark of royal approval & belonging.
Dabir was a very clever artist. This is a unique creation of his, I havenβt seen any at all similar. He created a magnificent negative space with the burgundy red and brought the massive field to life with a wonderful vision of roses. An eye catching medallion is formed from sweet floral forms and is complemented by 4 symmetric flowery dreams in the corners. None of these floral elements has any contours or silhouettes: entirely free from any lines or constraints. Pure genius.
The borders offer more flowery delights, that balance the abstract starkness of the Bordeaux field. Very unusually, the border is on Ivory creme tone. Another first.
This is perfection. This is where the βred carpetβ got its name from. This is what palace quality. This is genius.
Itβs also the largest signed Dabir I have ever seen. The quality of wool and weave are exceptional.
456 x 321
Early 1900s
Super collectible. Only serious requests please!
A once in a lifetime opportunity π
I first met Dr. Maktabi as a lecturer on carpet history and was captivated by his passion for the subject. Only later I knew him as a dealer, though even in our financial transactions, Hadi has been a gentle guide and friend. He has understood my taste and interests and made wonderful suggestions, but never in a pushy way. That is to say I have enjoyed working with him on several levels and wish to continue our excellent relations and dealings far into the future. A. Harvey Pincis, formerly Dar Al Athar Al Islamiyyah Museum (Kuwait), Latvia π±π»
Jβai fait la connaissance de Hadi lors de la prΓ©paration de lβexposition Β« LβEmpire des roses, chefs-dβΕuvre de lβart persan du 19Γ¨me siΓ¨cle Β» qui a eu lieu au Louvre-Lens en 2018 et Γ laquelle il a participΓ© par le prΓͺt de tapis exceptionnels. Jβavais alors Γ©tΓ© impressionnΓ©e par ses connaissances et sa passion pour les tapis orientaux. Cette rencontre a marquΓ© le dΓ©but dβune collaboration riche et fructueuse. Elle a notamment permis au musΓ©e du quai Branly-Jacques Chirac de voir ses collections iraniennes sβenrichir de plusieurs tapis et tentures dont certains nβont pas leur Γ©quivalent dans les musΓ©es occidentaux. Ce que jβapprΓ©cie chez Hadi ? Cβest son professionnalisme, son dynamisme et lβengouement quβil a pour son mΓ©tier ! Hana Chidiac, Curator of the Middle East Department at the Musee Quai Branly - Jacques Chirac, Paris, France π«π·
Acquiring a piece from my dear friend Hadi is truly a journey. We start that journey with a lesson and detailed background on any piece that is of interest. After a thorough discussion regarding the chosen piece or should I say marvel, since Hadi's pieces are truly marvels, Hadi guides us into why he would advise us to acquire it or go for another of his marvels that would suit us more than the one initially chosen. This sincere advice always makes us feel that we are generously taken care of by Hadi. The learning process and honesty in guidance make us go back only to Hadi whenever we are looking for our next beautiful piece for our homes. All I can say is thank you Hadi for your impeccable guidance and service. Abdullah Al-Awadhi, Kuwait π°πΌ
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