Wednesday, December 22, 2010

Nazmiyal Acquires Andy Warhol’s Centennial Quilt

Nazmiyal Acquires Andy Warhol’s Centennial Quilt

December 1, 2010

Nazmiyal Acquires Andy Warhol’s Centennial Quilt

New York, NY (RPRN) 12/01/10 — Andy Warhol Quilt from Sotheby's 1988 Auction The sudden and untimely death of Andy Warhol in 1987 after routine gall bladder surgery was a shock to the modern art world. His personal collections were auctioned at Sotheby’s, New York, during a ten-day event from April 23 to May 3, 1988. Sotheby experts spent several months inventorying and cataloguing the materia.

The more than 10.000 items from the Warhol estate--the personal effects of his Manhattan home--make a statement about the man and the background of his art. The man who elevated American commercialism and pop iconography to an art form was a consummate collector of not only fine art but artifacts that represented American consumerism from the avant-garde to the ordinary.
This 1876 antique centennial quilt was included in the auction as part of the Americana and folk art collection. The quilt was made to commemorate the one hundred-year anniversary of the United States, just more than a decade after the


conclusion of the American Civil War. Thus it represents not only traditional American textile art, but attests to the endurance of a nation after a bloody and divisive civil war. This hand-sewn quilt is made of 42 squares of nine pieces each, with the exception of one square that contains 12 pieces. This seeming aberration of pattern is actually a tradition followed by quilters to make one block slightly different from the others. Some quilters use this convention as a signature, whether the effort is by an individual or a group.

Nazmiyal Acquires Andy Warhol’s Centennial Quilt
Nazmiyal Acquires Andy Warhol’s Centennial Quilt Detail


The deceptively simple pattern interplays light and dark, juxtaposing boldly-colored shades of dark brown with lighter tones of taupe, ivory, white and pale blue. The rectangular lines of the pattern are accentuated by the predominance of linear designs in the fabrics, including stripes and checks.

The use of subtly-patterned small prints and polka dots offsets the linearity for a pleasant, balanced effect. The occasional use of light blue in the rectangular cross pieces and the triangular insets enlivens the color palette.The border between the squares features small red and blue stars on a white background. The numbers 1776 and 1876 occur at regular intervals, continuing the red, white and blue color scheme.

Warhol himself experimented with patchwork textile art. In his early years, he made patchwork collages by taking cuttings from clothing by couture designers including Oscar de la Renta, Diane von Furstenberg and Valentino. He then used this exotic fabric to create new garments. This simple exercise exemplifies his genius: highlighting the familiar, bringing it to the attention of the viewer, and transforming the traditional into a contemporary statement.

Nazmiyal Acquires Andy Warhol’s Centennial Quilt
Art Press

Friday, November 27, 2009

Lecture on 4th December 2009 at RIPPON BOSWELL in WiesbadenFriday, November 27, 2009 10:15 AM

Dear readers, dear carpet enthusiasts,

Almost at the last minute, we are pleased to announce a presentation by Dr. Georg Butterweck from Vienna, to be held at our premises on Friday, 4th December 2009, at 6 p.m., the eve of our auction on 5th December where the von Bode “Lotto” carpet will be offered for sale.

“Lotto” Designs as Symbols of the Islamic and Chinese Worldviews

Georg Butterweck, a well-known Austrian carpet scholar (“Das Standardwerk des anatolischen Knüpfteppichs – Zentralanatolien”, with Dieter Orasch, 1986), has analysed some 350 “Lotto” field designs to date. At the Volkmann meeting focusing on “Ottoman carpets in Transylvania”, held in Berlin in 2006, Butterweck spoke on a previously undiscovered secret of “Lotto” carpets: an exact design analysis has revealed that animal motifs derived from Chinese designs are concealed between the octagonal and cruciform ornaments of the field ground. Previously, Lotto designs were only analysed and interpreted in terms of the Islamic symbolism and worldview, and the designs in the field ground were neither taken into account nor identified as Chinese symbols.

Moreover, the presentation will discuss the basic concept, aesthetic structure and various styles of this famous carpet family, as well as issues relating to date. It will also establish why lot 173, the “Lotto” carpet formerly owned by art historian and Director of the Berlin Islamic Museum Wilhelm von Bode, is considered a first-rate example of its kind.

With best regards,

Detlef Maltzahn

Publicly appointed and sworn art auctioneer

RIPPON BOSWELL & CO. GmbH
Friedrichstrasse 45
D - 65185 Wiesbaden
Deutschland / Germany
Tel. 0049 611 334430
Fax 0049 611 307369

email: info@rippon-boswell-wiesbaden.de

www.rippon-boswell-wiesbaden.de

Monday, November 23, 2009

LACMA displays the Ardabil and the Coronation Carpets

LACMA Ardabil Carpet Persian rug

Coronation Carpet Lacma

A TALE OF TWO PERSIAN CARPETS: Two rare treasures, displayed together. It doesn't happen all the time, but it is happening right now at LACMA, where the Ardabil Carpet -- which was created nearly a half millennium ago -- will be displayed with the Coronation Carpet, another wondrous work. If you're mad for textiles, get to the museum, definitely before January 18th.


Coronation Carpet Lacma

Tuesday, November 17, 2009

Sarkis Kish Oriental Rug Moves

More small firms want to own

Some find buying more attractive than leasing

Memphis Business Journal - by Andy Ashby

ALAN HOWELL | MBJ
Sarkis and Sarko Kish bought a building for their Oriental rug business and are leasing some of it for income.
View Larger

In the face of a tough economy, Sarkis Kish Oriental Rug has consolidated its operations by building a new facility while adding additional revenue streams.

It sells middle- to upper-end rugs, which can cost thousands of dollars, depending on size and quality.

The business, which operates in the luxury segment of retail, has faced challenges since Sept. 11, 2001, according to vice president Sarkis Kish Jr., also known as Sarko, and the company has been looking at ways of saving money to maximize profits or invest back in the business.

One way to save money was by spending money.

The business bought a property near its longtime showroom on Sanderlin for $402,000, then spent $800,000 tearing it down and building a new 8,200-square-foot facility at 5179 Wheelis.

“It’s a better investment,” Sarko says. “We’re not paying rent to somebody else; we’re paying rent to ourselves.”

The building also allowed Sarkis Kish Oriental Rug to have its showroom, rug cleaning, rug repair, rug restoration and storage facilities under one roof. The company used to lease three different spaces: one for sales, one for repair and one for cleaning.

Its showroom was in a shopping center only a block away from its current location. The shopping center had better visibility, but the company figured that into its equation for the move.

“We realized people who were shopping for a rug were making a thought-out decision to shop for one,” Sarko says. “They weren’t just going to, because they were driving by or having lunch next door, pop in and get a rug.”

Sarko’s father, Sarkis, wanted to build a facility and subsidize it by renting out bays. In addition to its operations, the company now has two 1,800-square-foot bays for other retailers.

It recently signed Harrington Brown Art Gallery to a lease.

“We got the right tenant,” Sarko says. “We can feed off each other’s businesses because we have the same clientele.”

The company is also looking for a furniture store or interior designer for the second bay.

The Shopping Center Group LLC has handled the listings for the spaces.

Carson Claybrook, a broker with the Shopping Center Group, says having the landlord and tenant in one building creates a better rapport.

“I think this gives them less of a landlord/tenant relationship feel and more of a feel that they are both trying to make this location work together,” Claybrook says.

With both land and building prices dropping due to the economy, retailers that traditionally would not consider owning real estate are now looking for opportunities, particularly when there is upside in leasing excess space to complementary businesses, according to Gary Shanks, a broker at the Shopping Center Group.

“With additional store closings and bankruptcies forthcoming, there will continue to be opportunities for retailers to relocate and/or reposition themselves in the marketplace,” Shanks says. “Retailers are taking full advantage of market conditions in knowing they have the upper hand in negotiations.”

Claybrook and Shanks have seen a rise in leases being signed in the past 90 days.

“Most of these tenants are local mom-and-pop users that have anywhere from one to three locations and are taking advantage of the lower rental rates, and the ability to lock into a good rate for an extended period of time,” Claybrook says. “We also have seen movement in bargain-based retailers such as Big Lots, Family Dollar, Dollar General, that are surviving the storm better than most retailers.”

Sarkis Kish Oriental Rug
Rug sales, cleaning and repairs
President: Sarkis Kish
Address: 5179 Wheelis Drive
Phone: (901) 818-6878
Web site: www.sarkiskish.com

aashby@bizjournals.com | 259-1732

http://memphis.bizjournals.com/memphis/stories/2009/11/16/story4.html?b=1258347600^2434631

Thursday, November 12, 2009

Magic Carpet exhibit, lecture, slide show

Ride The Magic Carpet as you travel from the Gods of the Himalayas to the 2500 year old Scythian Pazyryk Rug of Siberia in search of the ancient symbols that have express cultural values.

Through an exhibit, education lecture and slide show titled: Expressions Through Symbols in Oriental Rugs, the powerful images woven into hand made rugs that have spoken to man since time immortal will be explored.

This unique event is free to the public and will be held

7 p.m. Saturday, at The Magic Carpet Gallery, 408 Broad St., in Nevada City.

For information, call (530) 265-9229

Thursday, September 10, 2009

Sir James Mellaart further Discredited

Sir James Mellaart a British archeologist with a dodgey reputation for playing fast and loose with the truth has been called into further question for his conclusions on the "mother goddess" hypothesis. Jeremy O’Brien who is on placement at The Irish Times as a British Science Association Media Fellow publiehed in the Times an article that casts great doubt on Mellaart's methodology and conclusions. Evidence that supported his hypothesis was retained while artifacts that refuted it were cast into the “spoil heaps”.

Mellaart based his theory on the large number of "goddess" figures but O’Brien writes:

For example Prof Lynn Meskell, also from Stanford University, has been studying the stone and clay figurines discovered at the site.
“The original project probably found less than 200 figurines. Our current project has found close to 2,000.”
“Now we have a very different picture of figurine production at the site,” she explains. “The greatest number out of that 2,000 are certainly animal figurines.
I include the O'Brien article because it shows that as we have seen in the past what Sir James Mellaart published is highly questionable to say the least:

New techniques undermine 'mother goddess' role in ancient community


JEREMY O'BRIEN in Guildford
MODERN SCIENTIFIC methods are revealing how the world’s earliest farming communities lived about 9,000 years ago.
Newly discovered human and animal figurines are also overturning some of the previous misconceptions about an archaeological site first opened in the 1960s and a supposed role played by a “mother goddess” for the ancient peoples who lived there.
The evidence is coming from an archaeological site called Çatalhöyük. “This is this amazing site in central Turkey, which is about 9,000 years old and is often talked about as one of the first large settled communities,” explains Prof Ian Hodder from Stanford University. “Çatalhöyük was excavated in the 1960s in a methodical way, but not using the full range of natural science techniques that are available to us today.”
“Sir James Mellaart who excavated the site in the 1960s came up with all sorts of ideas about the way the site was organised and how it was lived in and so on,” he said. “We’ve now started working there since the mid 1990s and come up with very different ideas about the site.”
“One of the most obvious examples of that is that Çatalhöyük is perhaps best known for the idea of the mother goddess. But our work more recently has tended to show that in fact there is very little evidence of a mother goddess and very little evidence of some sort of female-based matriarchy.
“That’s just one of the many myths that the modern scientific work is undermining.”
For example Prof Lynn Meskell, also from Stanford University, has been studying the stone and clay figurines discovered at the site.
“The original project probably found less than 200 figurines. Our current project has found close to 2,000.”
“Now we have a very different picture of figurine production at the site,” she explains. “The greatest number out of that 2,000 are certainly animal figurines.
“There’s certainly less than 5 per cent that could be considered female.” Ironically, they have found many figurines in the “spoil heaps” that the earlier researchers discarded.
Among other finds at the site is the earliest evidence of milk use in human history.
On the role of the site in supporting a mother goddess legend, Prof Simon Hillson of University College London says: “While I’ve been working there since the mid 1990s we’ve had various ‘goddess tours’ – people on bus trips going around Turkey looking for the goddess. For them Çatalhöyük is very important because it is the origin of the mother goddess.”
It seems that the reality may be quite different.
Jeremy O’Brien is on placement at The Irish Times as a British Science Association Media Fellow