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Eastern Treasures – Zadah Gallery Asian Art In London Exhibition

Dec 5, 2011

written by in Blog, Eastern, Eastern Rugs, Eastern Textiles

During the month of November (2011) the city of London became Asian, or at least those sectors concerned with antique and contemporary art did. Asian Art, a collective of Asian art societies, galleries, museums, and auction houses annually organizes a menu of events including major auctions, exhibitions, events, and sales. In keeping with this annual Asian invasion Zadah’s Antique Textiles Gallery hosted an exhibition, Eastern Treasures (curated by Sarah Haberkern) that treated us with an overview of textiles spanning most Asian regions. Zadah, who has built his reputation with numerous previous textile exhibitions, dipped into his family’s collection to augment this show’s Asian mission. One of these special treats was a pair of 17/18th century embroidered panels (see background in the ‘gallery team’ image below) with an impressive provenance having previously been in the collection of Tate Gallery’s founder, Sir Henry Tate.
The family subsequently donated the panels to a charity auction whereupon it entered the public domain only to disappear again into the Zadah family collection. The inspiration for this genre of textile, characterized by unusually refined realistic articulation, seems to be Dutch botanical lexica. Indeed trade between the two countries was well established at this time. The popularity of this style can be traced to the 4th Moghul Emperor, Jahangir, after his return from his royal gardens. This particular pair was probably woven specifically for export to the Netherlands where they were most likely employed as curtains. They are in an excellent state of preservation.

The opening of Easter Treasure was well attended by an enthusiastic group of appreciative visitors. In the course of the evening lively conversation and discourse on the material engendered new perspectives and discoveries. Topical stimulation was provided by exquisite kesis, outstanding Ming textiles, a beautiful Resht, and a group of Safavid textiles that adorned the gallery. Perhaps the most discussed textile was a Moghul summer carpet. These rare embroideries consist of elaborate flowers rendered in silk satin stitch and couched metal thread. This particular example, be it Goan or Deccan, is related to a similar example in the Victoria & Albert Museum. The V & A piece is said to have belonged to Tipu Sultan of Mysore, who died in the battle of Seringapatam in 1799. Typical for the type, both examples display an oval medallion with radiating flowering stems, quarter medallion corners, and borders with floral meanders.

The exhibition will be reviewed by HALI where perhaps you might out more about one the earliest Ghiordes rug and a beautiful West Anatolian rug that were included in the show.

Asian Art In London – Zadah’s Exhibition of Antique Eastern Rugs And Textiles

Antique Eastern Rugs And Textiles

Earlier this month, we held our ‘Eastern Treasures’ Exhibition, showing a unique selection of antique rugs and ancient textiles from the East.

We exhibited an exclusive selection of antique rugs and textiles, all connected through their Eastern origins – unique historical pieces from Japan, China, and India, to name but a few. You can see a fine example of Japanese craftsmanship, an 18th/19th Century Japanese Kesi in our blog. View our collection for other Eastern Rugs and Eastern Textiles.

Some of the antique eastern rugs were displayed for the very first time in the Zadah gallery. The Eastern Treasures exhibition took place as part of the Asian Art in London Event. Asian Art in London has been held since 1998 – a ten day event featuring the leading UK dealers and auction houses. Exhibitions are held at a select list of dealers in antique textiles, while auction houses like Sotheby’s, Bonham’s and Christie’s hold gallery talks and auctions, featuring antiques from the East which span 5,000 years of history.

Visitors who came to London during the week had the opportunity to view some of the best Asian Art in the world, from Imperial porcelain to contemporary art, in gallery selling exhibitions and auctions, together with lectures and symposia by London’s major museums. Asian Art in London, now in its 14th year, has an established reputation as one of the most important Asian art events on the international art calendar. Zadah are privileged to have taken part in the Asian Art in London exhibition for a number of years, showing select pieces from our collection - which itself contains pieces from all over the world – Eastern Textiles, European Tapestries, African Pieces, Islamic Antiquities and more, pieces covering almost 2000 years of history.

On the 3rd, we held an invitation-only opening for the Exhibition (we extended an invitation to the visitors to our website, perhaps you viewed the Exhibition – we would like to know what you thought), attended by dealers, antiques experts and textile historians, to name but a few.

Below, you can see a series of photographs from the opening, featuring some of our wonderful Eastern rugs – and some of our wonderful guests.

 

Our 18/19th Century Japanese Kesi – On Display During Our Eastern Treasures Exhibition

Oct 28, 2011

written by in Eastern, Exhibitions

This Japanese kesi tells the story of the happy children. It is a myth and folk tale going back to Chinese traditions that were taken over by the Japanese. The children represent happiness, the innocence of the youth and fertility. The children all have different toys and attributes that represent the common arts of the time, such as music, painting, calligraphy and so on. The main statement of the picture is the wish for a long happy life that at that time was guaranteed by many children. It is also a good example of the accumulation of different folk traditions. The kesi can be dated 18th/19th century and shows only minor wear. The technique of the kesi textiles was imported from China. Kesi (silk tapestry weave) became the vehicle for quintessentially Chinese aesthetics during the Song Dynasty (960-1279) in textiles which feature traditional phoenix and peony motifs or which emulate styles of Chinese brush painting. During the Ming (1368-1644) and Qing (1644-1911) dynasties, court robes, rank badges, and Buddhist and Daoist Kesi were all used to denote status and wealth, as well as to express religious devotion.

This outstanding piece can be seen in Zadah’s exhibition “Eastern Treasures” opening on the 3rd of November. The exhibition is a part of the Asian Art in London event, a very exclusive circle of exhibitors which show their Asian collections from the 3rd till 12th November. Our opening takes place in 4 Marylebone Street at 6 to 9 pm.

 

18/19th Century Japanese Kesi

Your Invitation To The “Eastern Treasures Exhibition” part of Asian Art in London

Oct 28, 2011

written by in Ancient Textiles, Blog, Exhibitions

On behalf of Zadah, 3rd Generation Collector of spectacular eastern textiles, tapestries, rugs and antiquities, we would like to invite you to view our spectacular Eastern Treasures Exhibition, taking place as part of Asian Art in London.

The Exhibition takes place from the 3rd to the 12th November, opening on the 3rd of November from 6.00-9.00pm.

If you have any questions, please contact us on 0207 935 7125 or email us atinfo@zadah.com for more information.

 

Eastern Treasures Exhibition for Asian Art 3rd-12th November At Zadah Gallery 

 

Welcome to London’s leading event for all things in the world of Asian Antiques and Fine Art.

Asian Art in London is an annual event which involves London’s leading Asian art dealers, joining together for a series of selling exhibitions during the 10 days of Asian Art in London.

At the same time, the major auction houses of Bonhams, Christie’s and Sotheby’s hold auctions and gallery talks. In combination with this, the premier London Museums and Institutions present exhibitions and lectures.

Come see the magnificent selection of Asian antiques and contemporary Asian art from: India; China; Japan; the Himalayas and Korea, spanning some 5000 years of culture – including ceramics, furniture, glass, jade, jewellery, manuscripts, metalwork, paintings, screens, stone carvings and textiles.

A Personal Invitation From Zadah

Oct 7, 2011

written by in Affordable Art, Art, Exhibitions

Come and join me for a drink at the Affordable Art Fair, where I shall pop in to see what lovely art is out there.

London, Battersea – 20th–23rd October, 2011

Hampstead – 27 – 30 October, 2011

The Affordable Art Fair’s formula is relatively simple: a relaxed, unstuffy environment and lots of good quality contemporary art.

The price ceiling of £3,000/€5,000/$10,000 and the compulsory labelling of all artwork ensures you know what you can and can’t afford, and the huge array of paintings, sculpture, photography and prints means there is something to suit every taste whether you are a first time art buyer or a seasoned collector. Each year new artists are shown at the fairs, so even if you don’t find your perfect piece the first time it is always worth coming back!

At several of the fairs there is a showcase for recent graduates – giving you the opportunity to snap up a work by a potential star of the future. And there are always lots of other arty activities going on, such as printmaking workshops and talks on collecting art, which are fun, informative and free.

At each event there’s a wine bar or café, and in London and Amsterdam there’s also a crèche where young children can be left to play while you browse.

The Affordable Art Fair

Come and join me for a drink at the Affordable Art Fair, where I shall pop in to see what lovely art is out there.

London, Battersea – 20th–23rd October, 2011

Hampstead – 27 – 30 October, 2011

The Affordable Art Fair’s formula is relatively simple: a relaxed, unstuffy environment and lots of good quality contemporary art.

The price ceiling of £3,000/€5,000/$10,000 and the compulsory labelling of all artwork ensures you know what you can and can’t afford, and the huge array of paintings, sculpture, photography and prints means there is something to suit every taste whether you are a first time art buyer or a seasoned collector. Each year new artists are shown at the fairs, so even if you don’t find your perfect piece the first time it is always worth coming back!

At several of the fairs there is a showcase for recent graduates – giving you the opportunity to snap up a work by a potential star of the future. And there are always lots of other arty activities going on, such as printmaking workshops and talks on collecting art, which are fun, informative and free.

At each event there’s a wine bar or café, and in London and Amsterdam there’s also a crèche where young children can be left to play while you browse.

We’re Taking Part in ‘Asian Art in London’ 3-12th November 2011

ZADAH GALLERY will be taking part in this years Asian Art in London

Asian Art in London Goes International.

Since its inception in 1998, Asian Art in London has become one of the world’s most important focal points for international collectors of Asian art, with its series of specialist gallery exhibitions and events hosted by leading UK dealers and auction houses. In a new move that further enhances its global appeal, Asian Art in London has for the first time invited overseas specialist dealers to join its ranks for the 2011 event, to be held from 3rd to 12th November.

International dealers taking part in Asian Art in London for the first time are: Art of the Past from New York;Alexis Renard and Christophe Hioco both from Paris; Carlo Cristi from Italy; Carlos Cruañas from Barcelona. From the Netherlands dealers welcomed are Dries Blitz, Michael Meijering Art Books and Vanderven & Vanderven Oriental Art. All international dealers will be taking gallery spaces in central London.

Also new to the event this year and adding a further dimension to the ever-expanding group of participants are several London-based dealers. Modern and contemporary Indian art can be found at Grosvenor Gallery, St. James’s; an exciting Chinese performance art piece will be taking place at Hua Gallery’s Battersea riverside location and Mica Gallery in Sloane Square will show modern Pakistani works.

Recently opened Japanese specialist Rutherston Bandini will present, as part of their exhibition, a delightful ivory netsuke of a Kinko on a carp, c.1780 from the Sheila M. Baker collection. Exquisite oriental carpets and textiles can be found at Zadah Gallery, Marylebone. This brings the total number of participants to 51 expanding the event by over 20% on previous years. A full list of all the participants, their exhibitions and specialities can be found below.

Asian Art in London’s sponsors this year are AFEX (Associated Foreign Exchange) and Apollo Magazine. The Antiques Trade Gazette also continues its invaluable support of the Asian Art in London Art Award for two- and three-dimensional works of art. The award is judged by an international group of experts, including Sir Michael Butler and the Victoria and Albert Museum’s Indian specialist Rosemary Crill, together with Dr Claire Pollard from the Ashmolean Museum and Dr Wang Tao, Senior Lecturer in Chinese Archaeology at SOAS.

The Asian Art in London Gala Party, to be held on the 8th November at the Victoria and Albert Museum, promises to be a spectacular event. The star prize for a lucky guest will be a fantastic free trip to The St. Regis Bangkok hotel sponsored by the St. Regis Group.

Visitors who come to London during the week have the opportunity to view some of the best Asian art in the world, from Imperial porcelain to Contemporary, in gallery selling, exhibitions and auctions, together with lectures and symposia by London’s major museums.

Asian Art in London, now in its 14th year, has an established reputation as one of the most important Asian art events on the international art calendar.

List of Participants: Dealers:

ART OF THE PAST, New York;

Exhibition: By Brush and Chisel: Masterworks from South and Southeast Asia
Specialisation: Antiquities from South and Southeast Asia, the Himalayas, and Islam

DAVID BAKER ORIENTAL ART LTD, London;

Exhibition: Recent Acquisitions
Specialisation: Chinese, Japanese, Korean, Southeast Asian ceramics and works of art

GREGG BAKER ASIAN ART, London;

Exhibition: Few and far between: Six masterworks
Specialisation: Japanese and Chinese works of art, specialising in paper screens and metalwork

JOOST VAN DEN BERGH, London;

Exhibition: Painting and Drawing from the Near, Middle and Far East
Specialisation: Indian, Southeast Asian and Japanese works of art

BERWALD ORIENTAL ART, London;
Exhibition: Recent Acquisitions
Specialisation: Chinese porcelain, pottery and works of art

DRIES BLITZ, The Netherlands;
Exhibition: Early Chinese ceramics and works of art
Specialisation: Chinese and Asian art

BRANDT ASIAN ART, London;
Exhibition: Chinese and Japanese Sculptures, Textiles and Works of Art
Specialisation: Chinese works of art including China Trade and Chinese and Japanese textiles

CARLO CRISTI, Italy;
Exhibition: Tibetan Arts and Central Asian Textiles
Specialisation: Tibetan, Nepalese, Indian, Southeast Asian arts, early textiles from Central Asia and China

CARLOS CRUANAS, Barcelona and New York;
Exhibition: Indian and Himalayan art
Specialisation: Indian, Himalayan and Southeast Asian art

ESKENAZI LTD, London;
Exhibition: Chinese huanghuali furniture from a private collection
Specialisation: Chinese art

JOHN ESKENAZI LTD, London;
Exhibition: Recent Acquisitions
Specialisation: Indian, Gandharan, Southeast Asian and Tibetan art

MALCOLM FAIRLEY LTD, London;
Exhibition: Japanese Works of Art including a Collection of Japanese Armour
Specialisation: Japanese works of art from the Meiji period, including metalwork, enamels, lacquer, ceramics, netsuke and inro

FLEURDELYS ANTIQUITÉS, London;
Exhibition: Art in Wood
Specialisation: Chinese wood stands, ceramics and works of art

SAM FOGG, London;
Exhibition: Drawings from Indian Courts
Specialisation: Islamic and Indian art, Himalayan and Southeast Asian manuscripts and East Asian printed books

OLIVER FORGE & BRENDAN LYNCH LTD, London;
Exhibition: Bengal School Painting
Specialisation: Islamic art, Indian, Himalayan and Southeast Asian art including manuscripts and miniature paintings

FRANCESCA GALLOWAY, London;
Exhibition: Ivory – Material of Desire, Indian goods for the luxury market
Specialisation: Indian miniatures, European and Asian textiles, Islamic and Indian works of art

GIBSON ANTIQUES LTD, London;
Exhibition: Chinese Ceramics and Works of Art
Specialisation: Oriental ceramics and works of art

MICHAEL GOEDHUIS, London;
Exhibition: Fresh Ink from China
Specialisation: Chinese Art

GROSVENOR GALLERY, London;
Exhibition: The Path of the Lotus: Indian Art Ancient to Contemporary
Specialisation: Modern and contemporary Indian art

CHRISTOPHE HIOCO, Paris;
Exhibition: Recent Acquisitions
Specialisation: Indian, Gandharan and Vietnamese art (Dong Son Culture)

HUA GALLERY, London;
Exhibition: Antevasin: ‘One Who Lives at the Borders’ Kuan Ching Mediha Ting –  A Solo Exhibition
Specialisation: Chinese Contemporary Art

BEN JANSSENS ORIENTAL ART LTD, London;
Exhibition: Objects for the Scholar’s Desk
Specialisation: Early Chinese sculpture, bronzes and ceramics, and later Chinese works of art. Japanese works of art

ROGER KEVERNE LTD, London;
Exhibition: Fine and Rare Chinese Works of Art and Ceramics
Specialisation: Chinese ceramics and works of art from the Neolithic to the Qing dynasty, including jades, bronzes, enamels, lacquer and other organic materials

ROBERT KLEINER & CO LTD, London;
Exhibition: Recent Acquisitions
Specialisation: Chinese porcelain, snuff bottles, jades and works of art

JEREMY KNOWLES, London;
Exhibition: The Path of the Lotus: Indian Art Ancient to Contemporary
Specialisation: Indian works of art

MARCHANT, London;
Exhibition: The Bertil Högström Collection of Kangxi Blue and White Porcelain, 1662 – 1722
Specialisation: Chinese Ming and Qing Imperial porcelain, jades, cloisonné and works of art

MEIJERING ART BOOKS, The Netherlands;
Exhibition: Winter 2011
Specialisation: Asian art books

MICA GALLERY LTD, London;
Exhibition: The Brit Pak: Emerging British Pakistani Art
Specialisation: Modern Islamic and Contemporary Art (Middle Eastern and Asian Art)

AMIR MOHTASHEMI LTD, London;
Exhibition: Indian furniture and works of art
Specialisation: Islamic and Indian works of art

SYDNEY L. MOSS LTD, London;
Exhibition: Chinese and Japanese paintings and works of art, including lacquer and netsuke
Specialisation: Chinese and Japanese paintings and calligraphy, Chinese literati works of art, and Japanese works of art, including netsuke, inro, pipecases and lacquer

SUSAN OLLEMANS, London;
Exhibition: An exhibition of Mughal and related jewellery, 17th – 19th century
Specialisation: Mughal jewels and gold jewellery from Southeast Asia

KEVIN PAGE ORIENTAL ART LTD, London;
Exhibition: Chinese and Japanese Antiques
Specialisation: Japanese works of art from the Meiji period including Satsuma, metalwork, ivory, wood carvings and netsuke. Chinese antiques, from Ming to 1900, including porcelain and furniture

SIMON PILLING: EAST ASIAN ART & INTERIORS, London;
Exhibition: Shimmering Japan
Specialisation: Japanese works of art, specialising in lacquer

NICHOLAS PITCHER ORIENTAL ART LTD, London;
Exhibition: Chinese Ceramics and Works of Art
Specialisation: Early Chinese pottery, bronzes and later works of art

PRIESTLEY AND FERRARO, London;
Exhibition: Yueyao: The coming of age of Chinese ceramics
Specialisation: Early Chinese works of art, particularly Song ceramics, Han and Tang pottery, Buddhist wood and stone sculptures and early bronzes

SIMON RAY INDIAN & ISLAMIC WORKS OF ART, London;
Exhibition: Indian and Islamic Works of Art
Specialisation: Indian and Islamic works of art

ALEXIS RENARD, Paris;
Exhibition: Indian and Islamic art
Specialisation: Islamic and Indian art

ROSSI & ROSSI LTD, London;
Exhibition: Classical Sculptures and Paintings from the Himalayas and Heri Dono: Madman Butterfly
Specialisation: Indian and Himalayan art, early Chinese textiles and contemporary Asian art

RUTHERSTON & BANDINI LTD, London;
Exhibition: Japanese netsuke from the collection of Sheila M. Baker
Specialisation: Japanese works of art, in particular netsuke, inro and lacquer

JACQUELINE SIMCOX LTD, London;
Exhibition: Chinese Textiles
Specialisation: Chinese, Tibetan & Central Asian textiles

A&J SPEELMAN LTD, London;
Exhibition: Recent Acquisitions
Specialisation: Rare Chinese, Japanese, Himalayan, Indian and Southeast Asian works of art, including Tang pottery, early lacquer, cloisonné enamel, Hindu and Buddhist bronzes, porcelain and stone sculpture

S&J STODEL, London;
Exhibition: Chinese Export Silver
Specialisation: Chinese Export Silver, Japanese Silver

GRACE TSUMUGI FINE ART LTD, London;
Exhibition: Ten year Anniversary
Specialisation: Japanese art from the Edo and Meiji periods to contemporary: metalwork, lacquer, inro, netsuke, pipe-cases, cloisonné enamel, ceramics, paintings and screens

JONATHAN TUCKER ANTONIA TOZER ASIAN ART, London;
Exhibition: An important group of sculptures from India, Southeast Asia and China
Specialisation: Indian, Southeast Asian and Chinese works of art. Most strongly represented in the fields of stone and bronze sculpture, ceramics and textiles

VANDERVEN & VANDERVEN ORIENTAL ART, The Netherlands;
Exhibition: Amazing Blue and White
Specialisation: Chinese porcelain, early ceramics and works of art. Japanese lacquer and works of art

JORGE WELSH ORIENTAL PORCELAIN AND WORKS OF ART, London / Lisbon, Portugal
Exhibition: A celebration of Chinese Export Porcelain
Specialisation: Chinese export porcelain and works of art related to the European Expansion from Africa (Afro-Portuguese), India (Indo-Portuguese) and Japan (Namban)

ZADAH, London;
Exhibition: Eastern Gems
Specialisation: Persian and Islamic art and textiles

List of Participants: Auction Houses:

The auction houses will be holding the following auctions:

BONHAMS, New Bond Street, London;
The Harriet Szechenyi Collection of Japanese Art    8th November
Fine Chinese Art    10th November
The Evans Collection of Later Chinese Porcelain     
A European Collection of Chinese Export Figures    
Fine Japanese Art     10th November

BONHAMS, Knightsbridge, London;
Chinese and other Asian Works of Art    7th November

CHRISTIE’S, King Street, London;
Fine Chinese Ceramics and Works of Art;     8th November
Important Rhinoceros Horn and Jade Carvings From a     
Distinguished European Collection    

CHRISTIE’S, South Kensington, London;
Asian Interiors    9th November
Japanese Art & Design    9th November
Chinese Ceramics, Works of Art & Textiles     11th November

SOTHEBY’S, New Bond Street, London;
Fine Chinese Ceramics and Works of Art    9th November

WOOLLEY & WALLIS, Salisbury, Wiltshire.
Yixing Zisha Wares     15th November
Asian Art I    16th November
Asian Art II    17th November

Asian Art In London Gala Party:

The annual Asian Art in London Gala Party is one of the highlights of the Asian art calendar.

This year’s Gala will be held at the V&A and all guests will enter a free prize draw to win a luxury holiday for two in Bangkok, courtesy of The St. Regis Hotels and Resorts. It is recommended that tickets are booked early as capacity is limited.
Victoria and Albert Museum:    Tuesday 8th November
Admission strictly by ticket only    

Tickets £50 each and MUST be pre-booked in advance from Asian Art in London
+44 (0)20 7499 2215 or info@asianartinlondon.com

Late-Night Openings:

Special late-night openings will be held at following locations during Asian Art in London:

  • Kensington Church Street:    5 – 9pm, Saturday 5th November
  • St. James’s:    5 – 9pm, Sunday 6th November
  • Mayfair:    5 – 9pm, Monday 7th November

Tours:

Asian Art in London hosts a series of educational tours over the 10 days. Introductory guided tours of the participating galleries and auction houses can be booked in advance. Please contact info@asianartinlondon.com or call +44 (0)20 7499 2215.

Travel:

Asian Art in London has partnered with Turon Travel in New York to create exclusive travel experiences.

Partners:

ArtAsiaPacific Magazine

This year Asian Art in London has partnered with ArtAsiaPacific magazine to present an array of contemporary Asian art events such as gallery tours, exclusive in-conversations with artists and collectors and panel discussions.

Sponsors:

Antiques Trade Gazette    
Apollo Magazine
AFEX (Associated Foreign Exchange)

http://www.apollo-magazine.com/

Zadah – Antique Textile and Rug Collector, Dealer and Expert

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Zadah – World-Recognised Eastern Antique Textile, Rugs, Carpets and Tapestries Expert

Zadah is an entrepreneur with several successful businesses – including Property Development, Films, Construction and Trading Antique Cars – but only one true love…

Zadah is a 3rd Generation Historical Textiles Collector and Dealer. He has an unrivalled knowledge of Ancient Carpets, Rugs, Textiles and Antiquities from the East and West – from Persian Carpets to Ancient Islamic Antiquities to Early European Tapestries. His Gallery can be found online at Zadah.com – please call us on 0207 935 7125 today if you would like to know more about, or buy, any of the items you see on the site.

Zadah’s ancient collection of textiles features breath-taking, museum-quality pieces from a range of civilisations and timescales – from Coptic fragments from the 3rd Century AD, to Persian Rugs from centuries ago, to mysterious artifacts, each with their own unique tales of history, war and the society that prduced them to tell. These items come from many of the most powerful empires and dynasties throughout the world – The Mongols, The Safevids, The Ming Dynasty, The Mughuls, The Ottoman Empire, The Turkmens, to name but a few:

For example:

You will find the finest of Silk Weavings from Isfahan in our Textiles Collection.

Isfahan was the Central and Cultural capital of the Persian Empire of Shah Abbas throughout the the 16th and 17th Century. Isfahan is already a city of ancient history and considerable wealth when Shah Abbas decides, in 1598, to turn it into a magnificent capital. It has a Masjid-i-Jami, or Friday Mosque, dating from the Seljuk period (11th-12th century), still surviving today and noted for its fine patterned brickwork. And it has a thriving school of craftsmen skilled in the making of polychrome ceramic tiles. Shah Abbas favours in architecture what comes to seem almost the theme of his city – gently curving domes covered in a glorious array of Isfahan’s coloured tiles. The new centre of the city is a vast rectangular space, the Maidan-i-Shah (Royal Parade), designed for parades and polo. At its southern end there rises the most magnificent of Isfahan’s swelling blue domes, on the Masjid-i-Shah (Royal Mosque). The tiles are shaped where necessary to fit the curve of the dome, as are those which clad the mosque’s circular minarets. The dome is reflected in a great pool in the courtyard. On the east of the Maidan-i-Shah is a smaller blue dome, on the Mosque of Sheikh Lutfullah – built by Shah Abbas in honour of his father-in-law and used as his private chapel. There are other glorious buildings in Isfahan, but these domes have become the trademark of Persian Islamic architecture.

Our Galleries

The Zadah Gallery hosts probably – the greatest Collection of Ancient Rugs, Carpets, Eastern Textiles and other amazing historical Eastern art and artefacts from the most powerful Dynasties throughout the ages. travels throughout the world searching for textiles created by Artisans at the peak of the trade, that teach us things about the culture and the society of the Dynasty they represent.  

He has owned a number of galleries throughout London and is a vastly-experienced, expert collector and dealer in ancient rugs, old tapestries, fine Eastern textiles, ancient Persian rugs, Eastern carpets, fine European Tapestries and antiquities from around the world. is often featured in local newspapers and the Art Industry press such as Hali magazine. You can find additional examples of recent media in the Press Section or Blog Section of the site.

We also own 2 more Galleries In Europe:

- The Zada Gallery in Brussels, in Belgium

- and another in New York.

Zadah began trading in London, in Galleries in Mayfair and Marylebone first of all, but Zadah was driven to expand further and soon expanded into North West London as well, providing a wealth of knowledge and expertise to his clients, who make up a veritable Who’s Who of International Royalty and Celebrities.

‘s Latest Gallery is located in Marylebone, where he holds international exhibitions throughout the year, holds public and private viewings for small-medium sized groups, introduces his clients to the latest items in the collection that may interest them, and provides rare pieces for auction at Sothebys and Christies. If you want to arrange a viewing, or you see a piece on the website that you would like to learn more about, arrange to see, and perhaps even buy, please call us today on 0207 935 7125 or you can use our simple contact form

 

Carltone Property

1917 Ford Model T - owned by  Zadah of Zadah.com also has a Property Development company called Carltone Property, initially set up to develop a portfolio of high quality properties to rent out, both residential and commercial. He is always looking for new projects and to continue building a reputable network of other entrepreneurs for joint ventures. He has always been self employed although he worked for Piston as Chief design Engineer when he first graduated from University with a Degree in Engineering.

Zadah has a passion for classic cars, almost as great as his passion for ancient textiles, and he owns a 1917 FORD Model T which he drives around London in Summer – it’s very old, very eye-catching and it turns up in Newspapers and Magazine features all the time . The only other one in London belongs to the Science Museum, which has a sign in front of it saying ‘Do Not touch’!

He has a few employees working for him on a permanent and freelance basis…and his office gets full during exhibition seasons.

America Trip – 19th Century Antique Tibetan Carpets

19th Century Antique Tibetan Dragon Carpet

has just returned from a viewing trip to America, where he has been privileged to see a variety of antique rugs and ancient textiles.

19th Century Tibetan Dragon Rug“During my trip to the USA, I chanced upon this fantastic piece – a 19th Century Antique Tibetan Carpet. Interestingly, the Dragons are all large – 3 or 4 frets long. It’s very rare to see this type of work – it’s a speciality – this particular Tibetan carpet has been made in 2 pieces, in 2 separate looms, which were then brought together at a later date to complete the Tibetan carpet.”

“I will be exhibiting this fantastic 19th Century Antique Tibetan Carpet at Asia week, at the BOAF in Brussels“.

19th Century Tibetan Dragon Rug - Zadah Eastern GemsDragons are one of the more popular designs on antique Tibetan carpets, as the Dragon is a good luck symbol in Tibetan folklore – Tibetans consider the Dragon to be a benevolent being, bringing goodwill to mankind. This is in sharp contrast to the way ancient Western culture portrays the Dragon – in George and the Dragon, for example.

Dragons on Tibetan rugs usually take the form of a Thunder Dragon, or more rarely, a Wood Dragon. Thunder Dragons are often seen on Tibetan carpets with clouds denoting their passage through the sky. They are called Thunder Dragons due to the noise they make as they pass through the heavens. Lighting may also be seen on a Tibetan carpet featuring a Thunder Dragon

The Thunder Dragons of Ancient Tibetan Carpets aren’t mere flying creatures. They also rule the seas and hold dominion over the rain. The Tibetan word for Dragon is ‘Druk’ – and it appears on all kinds of textiles and objects – from ancient Tibetan Carpets to Paintings, in Architecture and murals. To the Tibetans, Druk is a magical creature that lives in the clouds.

See our other Eastern Rugs and Carpets

 

Magic Eastern Carpets, in the Stories from 1001 Arabian Nights

Persian Rugs and Magic Carpets in Ancient Islamic Literature

Eastern Carpets and Persian Rugs turn up often in the book known as 1001 Nights, also known as Arabian Nights and 1001 Arabian Nights. 1001 nights is a collection of Middle Eastern and South Asian stories and folk tales compiled originally in Arabic during the Islamic Golden Age – which took place from around 750-1258 AD (or 750-1258 CE).

During the Islamic Golden Age, Eastern Kingdoms were known for fantastic ancient textiles, ceramics, glass, metalwork, eastern carpets, persian rugs, illuminate manuscripts, and intricate embroidery. The Eastern textile markets flourished, with spectacular persian rugs, tapestries, eastern carpets and wall-hangings from the region becoming very important as works of Art. Some of these ancient rugs and eastern textiles are still preserved today – at the Zadah gallery we have a considerable collection of Eastern Rugs, Persian Carpets and Eastern Textiles dating back to the Islamic Golden Age, with many from even before.

The stories in 1001 Nights can be traced back to ancient and mediaeval Arabic, Persian, Indian, Turkish and Mesopotamian folklore and literature – particularly Pahlavi Persian work (from the first milennium AD), which explains which persian carpets have a special place in many of the stories. The magic carpet, or flying carpet as it’s often known in the West, was brought to Western audiences through the stories of 1001 Arabian Nights. In our story below, taken from the collection of tales, the magic carpet of Tangu (also known as Prince Houssain’s Carpet) is a seemingly innocent Persian carpet, which turns out to have a spectacular magical ability. Even the Sultan of the Indies himself declares “I have a great many rarities in my museum already, but nothing that comes up to the carpet, the ivory tube, and the artificial apple, which shall have the first place among them, and shall be preserved carefully, not only for show, but to make an advantageous use of them upon all occasions.”

Our Eastern carpets and Persian Rugs in the Zadah gallery also have a magical quality, although they do not fly or transport you to places, anywhere but in your imagination. They have a timeless quality and an elegance that defies the hundreds of years since their manufacture by hand. That is why our clients and collectors find our antique Persian carpets and ancient Eastern rugs so desirable – they reflect a Golden Age, a time in history when the East led the world, producing fantastic discoveries in Art, Medicine, Philosophy, Mathematics and much more. Their timeless beauty reflects a bygone age of incredible achievements and fantastic ancient textiles and Art.

Antique Persian Rugs - Belouch Bag RugDownload your own copy of 1001 Arabian Nights for free

The Tale of The Three Princes and the Princess Nouronnihar

A Flying Carpet from Eastern European Folk Tales

The Flying or Magic Carpet became known to Western Audiences through 1001 NightsThere was once a Sultan of India who had three sons. These, with the princess his niece, were the ornaments of his court. The eldest of the princes was called Houssain, the second Ali, the youngest Ahmed, and the princess his niece, Nouronnihar.

The Princess Nouronnihar was the daughter of the younger brother of the Sultan, to whom the Sultan in his lifetime allowed a considerable revenue. But that prince had not been married long before he died, and left the princess very young. The Sultan, out of brotherly love and friendship, took upon himself the care of his niece’s education, and brought her up in his palace with the three princes, where her singular beauty and personal accomplishments, joined to a sprightly disposition and irreproachable conduct, distinguished her among all the princesses of her time.

The Sultan, her uncle, proposed to get her married, when she arrived at a proper age, to some neighbouring prince, and was thinking seriously about it, when he perceived that the three princes his sons had all fallen in love with her. He was very much concerned, owing to the difficulty he foresaw whether the two younger would consent to yield to their elder brother. He spoke to each of them apart; and after having remonstrated on the impossibility of one princess being the wife of three persons, and the troubles they would create if they persisted, he did all he could to persuade them to abide by a declaration of the princess in favour of one of them; or to suffer her to be married to a foreign prince. But as he found them obstinate, he sent for them all together, and said to them, ‘Children, since I have not been able to persuade you no longer to aspire to marry the princess your cousin; and as I have no inclination to force her to marry any of you, I have thought of a plan which will please you all, and preserve union among you, if you will but follow my advice. I think it would be best, if every one travelled separately into a different country, so that you might not meet each other: and as you know I delight in every thing that is rare and singular, I promise my niece in marriage to him that shall bring me the most extraordinary curiosity; and for travelling expenses, I will give each of you a sum befitting your rank and the purchase of the curiosity you search.’

As the three princes were always submissive and obedient to the Sultan’s will, and each flattered himself that fortune would favour him, they all consented. The Sultan gave them the money he promised; and that very day they issued orders in preparation for their travels, and took leave of the Sultan, that they might be ready to set out early the next morning. They all went out at the same gate of the city, each dressed like a merchant, attended by a trusty officer dressed like a slave, all well mounted and equipped. They went the first day’s journey together; and slept at the first inn, where the road divided into three different tracks. At night when they were at supper together, they agreed to travel for a year, and to make that inn their rendezvous; that the first that came should wait for the rest; that as they had all three taken leave together of the sultan, they should all return together. The next morning by break of day, after they had embraced and wished each other good success, they mounted their horses, and each took a different road.

Prince Houssain, the eldest brother, who had heard wonders of the extent, strength, riches, and splendour of the kingdom of Bisnagar, bent his course towards the Indian coast; and, after three months travelling with different caravans, sometimes over deserts and barren mountains, and sometimes through populous and fertile countries, he arrived at Bisnagar, the capital of the kingdom of that name and the residence of its king. He lodged at a khan appointed for foreign merchants; and having learnt that there were four principal quarters where merchants of all sorts kept their shops, in the midst of which stood the castle, or rather the king’s palace, as the centre of the city, surrounded by three courts, and each gate two leagues distant from the other, he went to one of these quarters the next day.

Prince Houssain could not see this quarter without admiration. It was large, and divided into several streets, all vaulted and shaded from the sun, and yet very light. The shops were all of the same size and proportion; and all that dealt in the same sort of merchandise, as well as the craftsmen, lived in one street.

The multitude of shops stocked with the finest linens from several parts of India, some painted in the brightest colours, with men, landscapes, trees, and flowers; silks and brocades from Persia, China, and other places; porcelain from Japan and China, foot carpets of all sizes,–all this surprised him so much that he knew not how to believe his own eyes; but when he came to the shops of the goldsmiths and jewellers (for those two trades were exercised by the same merchants), he was dazzled by the lustre of the pearls, diamonds, rubies, emeralds, and other precious stones exposed for sale. But if he was amazed at seeing so many riches in one place, he was much more surprised when he came to judge of the wealth of the whole kingdom by considering that except the Brahmins and ministers of the idols, who profess a life retired from worldly vanity, there was not an Indian, man or woman, through the extent of that kingdom, who did not wear necklaces, bracelets, and ornaments about their legs and feet, made of pearls and other precious stones.

Another thing Prince Houssain particularly admired was the great number of rose-sellers, who crowded the streets; for the Indians are such lovers of that flower, that not one will stir without a nosegay in his hand, or a garland on his head; and the merchants keep them in pots in their shops, so that the air of the whole quarter, however large, is perfectly perfumed.

After Prince Houssain had run through the quarter, street by street, his thoughts fully occupied by the riches he had seen, he was very much tired, and a merchant civilly invited him to sit down in his shop. He accepted the offer; but had not been seated long before he saw a crier pass by with a piece of carpet on his arm, about six feet square, and cry it at thirty purses. The prince called to the crier, and asked to see the carpet, which seemed to him to be valued at an exorbitant price, not only for its size, but the meanness of the stuff. When he had examined it well, he told the crier that he could not comprehend how so small and poor a piece could be priced so high.

The crier, who took him for a merchant, replied, ‘Sir, if this price seems so extravagant to you, your amazement will be greater when I tell you I have orders to raise it to forty purses, and not to part with it for less.’

‘Certainly,’ answered Prince Houssain, ‘it must have something very extraordinary about it, which I know nothing of.’

‘You have guessed right, sir,’ replied the crier, ‘and will own as much when you come to know that whoever sits on this piece of carpet may be transported in an instant wherever he desires to go without being stopped by any obstacle.’

At this the Prince of the Indies, considering that the principal motive of his journey was to carry some singular curiosity home to the sultan his father, thought that be could not meet with anything which could give him more satisfaction. ‘If the carpet,’ said he to the crier, ‘has the virtue you assign it, I shall not think forty purses too much but shall make you a present besides.’

‘Sir,’ replied the crier, ‘I have told you the truth; and it will be an easy matter to convince you of it, as soon as you have made the bargain for forty purses, by experiment. But as I suppose you have not so much with you, and that I must go with you to the khan where you lodge, with the leave of the master of the shop we will go into his back shop, and I will spread the carpet; and when we have both sat down, and you have formed the wish to be transported into your room at the khan, if we are not transported thither it shall be no bargain. As to your present, as I am paid for my trouble by the seller, I shall receive it as a favour, and be very much obliged to you for it.’

The prince accepted the conditions, and concluded the bargain; and having obtained the master’s leave, they went into his back shop; they both sat down on the carpet, and as soon as the prince wished to be transported into his room at the khan, he found himself and the crier there, and as he wanted no more convincing proof of the virtue of the carpet, he counted to the crier forty purses of gold, and gave him twenty pieces for himself.

In this manner Prince Houssain became the possessor of the carpet, and was overjoyed that on his arrival at Bisnagar he had found so rare a treasure, which he never doubted would gain him the Princess Nouronnihar. In short he looked upon it as an impossible thing for the princes, his younger brothers, to meet with anything to compare with it. It was in his power, by sitting on this carpet, to be at the place of rendezvous that very day; but as he was obliged to wait for his brothers, as they had agreed, and as he was curious to see the King of Bisnagar and his court, and to learn about the laws, customs, and religion of the kingdom, he chose to make a longer abode there.

It was a custom of the King of Bisnagar to give audience to all strange merchants once a week; and Prince Houssain, who remained incognito, saw him often; and as he was handsome, clever, and extremely polite, he easily distinguished himself among the merchants, and was preferred before them all by the sultan, who asked him about the Sultan of the Indies, and the government, strength, and riches of his dominions.

The rest of his time the prince spent in seeing what was most remarkable in and about the city; and among other things he visited a temple, all built of brass. It was ten cubits square, and fifteen high; and the greatest ornament to it was an idol of the height of a man, of massy gold: its eyes were two rubies, set so artificially, that it seemed to look at those who looked at it, on whichever side they turned. Besides this, there was another not less curious, in a village in the midst of a plain of about ten acres, which was a delicious garden full of roses and the choicest flowers, surrounded with a small wall breast high, to keep the cattle out. In the midst of this plain was raised a terrace, a man’s height, so nicely paved that the whole pavement seemed to be but one single stone. A temple was erected in the middle of this terrace, with a dome about fifty cubits high, which might be seen for several leagues round. It was thirty cubits long, and twenty broad, built of red marble, highly polished. The inside of the dome was adorned with three rows of fine paintings, in good taste: and there was not a place in the whole temple but was embellished with paintings, bas-reliefs, and figures of idols from top to bottom.

Every night and morning there were ceremonies performed in this temple, which were always succeeded by sports, concerts, dancing, singing, and feasts. The ministers of the temple and the inhabitants of the place had nothing to live on but the offerings of pilgrims, who came in crowds from the most distant parts of the kingdom to perform their vows.

Prince Houssain was also spectator of a solemn feast, which was celebrated every year at the court of Bisnagar, at which all the governors of provinces, commanders of fortified places, all the governors and judges of towns, and the Brahmins most celebrated for their learning, were obliged to be present; and some lived so far off that they were four months in coming. This assembly, composed of innumerable multitudes of Indians, met in a plain of vast extent, as far as the eye could reach. In the centre of this plain was a square of great length and breadth, closed on one side by a large scaffolding of nine stories, supported by forty pillars, raised for the king and his court, and those strangers whom he admitted to audience once a week. Inside, it was adorned and furnished magnificently; and on the outside were painted fine landscapes, wherein all sorts of beasts, birds, and insects, even flies and gnats, were drawn as naturally as possible. Other scaffolds of at least four or five stories, and painted almost all alike, formed the other three sides.

On each side of the square, at some little distance from each other, were ranged a thousand elephants, sumptuously harnessed, each having upon his back a square wooden castle, finely gilt, in which were musicians and actors. The trunks, ears, and bodies of these elephants were painted with cinnabar and other colours, representing grotesque figures.

But what Prince Houssain most of all admired was to see the largest of these elephants stand with his four feet on a post fixed into the earth, two feet high, playing and beating time with his trunk to the music. Besides this, he admired another elephant as big, standing on a board, which was laid across a strong beam about ten feet high, with a great weight at the other end which balanced him, while he kept time with the music by the motions of his body and trunk.

Prince Houssain might have made a longer stay in the kingdom and court of Bisnagar, where he would have seen other wonders, till the last day of the year, whereon he and his brothers had appointed to meet. But he was so well satisfied with what he had seen, and his thoughts ran so much upon the Princess Nouronnihar, that he fancied he should be the more easy and happy the nearer he was to her. After he had paid the master of the khan for his apartment, and told him the hour when he might come for the key, without telling him how he should go, he shut the door, put the key on the outside, and spreading the carpet, he and the officer he had brought with him sat down on it, and, as soon as he had wished, were transported to the inn at which he and his brothers were to meet, where he passed for a merchant till they came.

Prince Ali, the second brother, travelled into Persia with a caravan, and after four months’ travelling arrived at Schiraz, which was then the capital of the kingdom of Persia, and having on the way made friends with some merchants, passed for a jeweller, and lodged in the same khan with them.

The next morning, while the merchants were opening their bales of merchandise, Prince Ali took a walk into that quarter of the town where they sold precious stones, gold and silver work, brocades, silks, fine linens, and other choice and valuable merchandise, which was at Schiraz called the bezestein. It was a spacious and well-built place, arched over, and supported by large pillars; along the walls, within and without, were shops. Prince Ali soon rambled through the bezestein, and with admiration judged of the riches of the place by the prodigious quantities of most precious merchandise there exposed to view.

But among all the criers who passed backwards and forwards with several sorts of things to sell, he was not a little surprised to see one who held in his hand an ivory tube about a foot in length and about an inch thick, and cried it at thirty purses. At first he thought the crier mad, and to make sure, went to a shop, and said to the merchant, who stood at the door, ‘Pray, sir, is not that man mad? If he is not, I am very much deceived.’

‘Indeed, sir,’ answered the merchant, ‘he was in his right senses yesterday, and I can assure you he is one of the ablest criers we have, and the most employed of any when anything valuable is to be sold; and if he cries the ivory tube at thirty purses, it must be worth as much, or more, for some reason or other which does not appear. He will come by presently, and we will call him; in the meantime sit down on my sofa and rest yourself.’

Prince Ali accepted the merchant’s obliging offer, and presently the crier passed by. The merchant called him by his name; and pointing to the prince, said to him, ‘Tell that gentleman, who asked me if you were in your right senses, what you mean by crying that ivory tube, which seems not to be worth much, at thirty purses: I should be very much amazed myself, if I did not know you were a sensible man.’

The crier, addressing himself to Prince Ali, said, ‘Sir, you are not the only person that takes me for a madman on account of this tube; you shall judge yourself whether I am or no, when I have told you its peculiarity. First, sir,’ pursued the crier, presenting the ivory tube to the prince, ‘observe that this tube is furnished with a glass at both ends; by looking through one of them you see whatever object you wish to behold.’

‘I am,’ said the prince, ‘ready to make you all proper reparation for the scandal I have thrown on you, if you will make the truth of what you say appear’; and as he had the ivory tube in his hand, he said, ‘Show me at which of these ends I must look.’ The crier showed him, and he looked through, wishing at the same time to see the sultan, his father. He immediately beheld him in perfect health, sitting on his throne, in the midst of his council. Afterwards, as there was nothing in the world so dear to him, after the sultan, as the Princess Nouronnihar, he wished to see her, and saw her laughing, and in a pleasant humour, with her women about her.

Prince Ali needed no other proof to persuade him that this tube was the most valuable thing, not only in the city of Schiraz, but in all the world; and he believed that, if he should neglect it, he would never meet again with such another rarity. He said to the crier, ‘I am very sorry that I should have entertained so bad an opinion of you, but hope to make you amends by buying the tube, so tell me the lowest price the seller has fixed upon it. Come with me, and I will pay you the money.’ The crier assured him that his last orders were to take no less than forty purses; and, if he disputed the truth of what he said, he would take him to his employer. The prince believed him, took him to the khan where he lodged, counted out the money, and received the tube.

Prince Ali was overjoyed at his bargain; and persuaded himself that, as his brothers would not be able to meet with anything so rare and marvellous, the Princess Nouronnihar would be his wife. He thought now of visiting the court of Persia incognito, and seeing whatever was curious in and about Schiraz, till the caravan with which he came returned back to the Indies. When the caravan was ready to set out, the prince joined them, and arrived without any accident or trouble at the place of rendezvous, where he found Prince Houssain, and both waited for Prince Ahmed.

Prince Ahmed took the road to Samarcand; and the day after his arrival there went, as his brothers had done, into the bezestein. He had not walked long before he heard a crier, who had an artificial apple in his hand, cry it at five-and-thirty purses. He stopped the crier, and said to him, ‘Let me see that apple, and tell me what virtue or extraordinary property it has, to be valued at so high a rate.’

‘Sir,’ said the crier, putting it into his hand, ‘if you look at the outside of this apple, it is very ordinary; but if you consider the great use and benefit it is to mankind, you will say it is invaluable. He who possesses it is master of a great treasure. It cures all sick persons of the most mortal diseases, fever, pleurisy, plague, or other malignant distempers; and, if the patient is dying, it will immediately restore him to perfect health; and this is done after the easiest manner in the world, merely by the patient smelling the apple.’

‘If one may believe you,’ replied Prince Ahmed, ‘the virtues of this apple are wonderful, and it is indeed valuable: but what ground has a plain man like myself, who may wish to become the purchaser, to be persuaded that there is no deception or exaggeration in the high praise you bestow on it?’

‘Sir,’ replied the crier, ‘the thing is known and averred by the whole city of Samarcand; but, without going any further, ask all these merchants you see here, and hear what they say; several of them would not have been alive this day if they had not made use of this excellent remedy. It is the result of the study and experience of a celebrated philosopher of this city, who applied himself all his life to the knowledge of plants and minerals, and at last performed such surprising cures in this city as will never be forgotten; but he died suddenly himself, before he could apply his own sovereign remedy, and left his wife and a great many young children behind him in very indifferent circumstances; to support her family, and provide for her children, she has resolved to sell it.’

While the crier was telling Prince Ahmed the virtues of the artificial apple, a great many persons came about them, and confirmed what he said; and one among the rest said he had a friend dangerously ill, whose life was despaired of, which was a favourable opportunity to show Prince Ahmed the experiment. Upon which Prince Ahmed told the crier he would give him forty purses if he cured the sick person by letting him smell at it.

The crier, who had orders to sell it at that price, said to Prince Ahmed, ‘Come, sir, let us go and make the experiment, and the apple shall be yours; it is an undoubted fact that it will always have the same effect as it already has had in recovering from death many sick persons whose life was despaired of.’

The experiment succeeded, and the prince, after he had counted out to the crier forty purses, and the other had delivered the apple to him, waited with the greatest impatience for the first caravan that should return to the Indies. In the meantime he saw all that was curious in and about Samarcand, especially the valley of Sogda, so called from the river which waters it, and is reckoned by the Arabians to be one of the four paradises of this world, for the beauty of its fields and gardens and fine palaces, and for its fertility in fruit of all sorts, and all the other pleasures enjoyed there in the fine season.

At last Prince Ahmed joined the first caravan that returned to the Indies, and arrived in perfect health at the inn where the Princes Houssain and Ali were waiting for him.

Prince Ali, who was there some time before Prince Ahmed, asked Prince Houssain, who got there first, how long he had been there; he told him three months: to which he replied, ‘Then certainly you have not been very far.’

‘I will tell you nothing now,’ said Prince Houssain, ‘but only assure you I was more than three months travelling to the place I went to.’

‘But then,’ replied Prince Ali, ‘you made a short stay there.’

‘Indeed, brother,’ said Prince Houssain, ‘you are mistaken: I resided at one place over four or five months, and might have stayed longer.’

‘Unless you flew back,’ replied Prince Ali again, ‘I cannot comprehend how you can have been three months here, as you would make me believe.’

‘I tell you the truth,’ added Prince Houssain, ‘and it is a riddle which I shall not explain till our brother Ahmed comes; then I will let you know what curiosity I have brought home from my travels. I know not what you have got, but believe it to be some trifle, because I do not see that your baggage is increased.’

‘And pray what have you brought?’ replied Prince Ali, ‘for I can see nothing but an ordinary piece of carpet, with which you cover your sofa, and as you seem to make what you have brought a secret, you cannot take it amiss that I do the same.’

‘I consider the rarity which I have purchased,’ replied Prince Houssain, ‘to excel all others whatever, and should not have any objection to show it you, and make you agree that it is so, and at the same time tell you how I came by it, without being in the least apprehensive that what you have got is better. But we ought to wait till our brother Ahmed arrives, that we may all communicate our good fortune to each other.’

Prince Ali would not enter into a dispute with Prince Houssain, but was persuaded that, if his perspective glass were not preferable, it was impossible it should be inferior, and therefore agreed to wait till Prince Ahmed arrived, to produce his purchase.

When Prince Ahmed came, they embraced and complimented each other on the happiness of meeting together at the place they set out from. Then Prince Houssain, as the elder brother, said, ‘Brothers, we shall have time enough hereafter to entertain ourselves with the particulars of our travels: let us come to that which is of the greatest importance for us to know; let us not conceal from each other the curiosities we have brought home, but show them, that we may do ourselves justice beforehand and see to which of us the sultan our father may give the preference.

‘To set the example,’ continued Prince Houssain, ‘I will tell you that the rarity which I have brought from my travels to the kingdom of Bisnagar, is the carpet on which I sit, which looks but ordinary and makes no show; but, when I have declared its virtues to you, you will be struck with admiration, and will confess you never heard of anything like it. Whoever sits on it as we do, and desires to be transported to any place, be it ever so far off, is immediately carried thither. I made the experiment myself before I paid down the forty purses, and when I had fully satisfied my curiosity at the court of Bisnagar, and had a mind to return, I made use of no other means than this wonderful carpet for myself and servant, who can tell you how long we were coming hither. I will show you both the experiment whenever you please. I expect you to tell me whether what you have brought is to be compared to this carpet.’

Here Prince Houssain ended, and Prince Ali said, ‘I must own, brother, that your carpet is one of the most surprising things imaginable, if it has, as I do not doubt in the least, that property you speak of. But you must allow that there may be other things, I will not say more, but at least as wonderful, in another way; and to convince you there are, here is an ivory tube, which appears to the eye no more a rarity than your carpet. It cost me as much, and I am as well satisfied with my purchase as you can be with yours; and you will be so just as to own that I have not been cheated, when you know by experience that by looking at one end you see whatever you wish to behold. Take it,’ added Prince Ali, presenting the tube to him, ‘make trial of it yourself.’

Prince Houssain took the ivory tube from Prince Ali, and clapped that end to his eye which Prince Ali showed him, to see the Princess Nouronnihar, and to know how she was, when Prince Ali and Prince Ahmed, who kept their eyes fixed upon him, were extremely surprised to see his countenance change suddenly with extraordinary pain and grief. Prince Houssain would not give them time to ask what was the matter, but cried out, ‘Alas! princes, to what purpose have we undertaken long and fatiguing journeys? In a few moments our lovely princess will breathe her last. I saw her in her bed, surrounded by her women and attendants, who were all in tears. Take the tube, behold for yourselves the miserable state she is in.’

Prince Ali took the tube out of Prince Houssain’s hand and after he had looked, presented it to Prince Ahmed.

When Prince Ahmed saw that the Princess Nouronnihar’s end was so near, he addressed himself to his two brothers, and said, ‘Princes, the Princess Nouronnihar, the object of all our vows, is indeed at death’s door; but provided we make haste and lose no time, we may preserve her life.’ Then he took out the artificial apple, and showing it to the princes his brothers, said to them, ‘This apple which you see here cost as much as either the carpet or tube. The opportunity now presents itself to show you its wonderful virtue. Not to keep you longer in suspense, if a sick person smells it, though in the last agonies, it restores him to perfect health immediately. I have made the experiment, and can show you its wonderful effect on the Princess Nouronnihar, if we make all haste to assist her.’

‘If that is all,’ replied Prince Houssain, ‘we cannot make more haste than by transporting ourselves instantly into her room by the means of my carpet. Come, lose no time; sit down on it by me; it is large enough to hold us all three: but first let us give orders to our servants to set out immediately, and join us at the palace.’

As soon as the order was given, Prince Ali and Prince Ahmed went and sat down by Prince Houssain, and all three framed the same wish, and were transported into the Princess Nouronnihar’s chamber.

The presence of the three princes, who were so little expected, frightened the princess’s women and attendants, who could not comprehend by what enchantment three men should be among them; for they did not know them at first, and the attendants were ready to fall upon them, as people who had got into a part of the palace where they were not allowed to come; but they presently recollected and found their mistake.

Prince Ahmed no sooner saw himself in Nouronnihar’s room, and perceived the princess dying, than he rose off the tapestry, as did also the other two princes, and went to the bed-side, and put the apple under her nose. Some moments after, the princess opened her eyes, and turned her head from one side to another, looking at the persons who stood about her; she then rose up in the bed, and asked to be dressed, just as if she had awaked out of a sound sleep. Her women informed her, in a manner that showed their joy, that she was obliged to the three princes her cousins, and particularly to Prince Ahmed, for the sudden recovery of her health. She immediately expressed her joy to see them, and thanked them all together, and afterwards Prince Ahmed in particular, and they then retired.

While the princess was dressing, the princes went to throw themselves at the Sultan their father’s feet, and pay their respects to him. The Sultan received and embraced them with the greatest joy, both for their return and for the wonderful recovery of the princess his niece, whom he loved as if she had been his own daughter, and who had been given over by the physicians. After the usual compliments, the princes presented each the curiosity which he had brought: Prince Houssain his carpet, which he had taken care not to leave behind him in the princess’s chamber; Prince Ali his ivory tube, and Prince Ahmed the artificial apple; and after each had commended his present, when they put it into the Sultan’s hands, they begged him to pronounce their fate, and declare to which of them he would give the Princess Nouronnihar for a wife, according to his promise.

The Sultan of the Indies having kindly heard all that the princes had to say, without interrupting them, and being well informed of what had happened in relation to the Princess Nouronnihar’s cure, remained some time silent, as if he were thinking what answer he should make. At last he broke silence, and said to them in terms full of wisdom, ‘I would declare for one of you, my children, with a great deal of pleasure, if I could do so with justice; but consider whether I can. It is true, Prince Ahmed, the princess my niece is obliged to your artificial apple for her cure, but let me ask you, whether you could have been so serviceable to her if you had not known by Prince Ali’s tube the danger she was in, and if Prince Houssain’s carpet had not brought you to her so soon?

‘Your tube, Prince Ali, informed you and your brothers that you were likely to lose the princess your cousin, and so far she is greatly obliged to you. You must also grant that that knowledge would have been of no service without the artificial apple and the carpet.

‘And for you, Prince Houssain, consider that it would have been of little use if you had not been acquainted with the princess’s illness by Prince Ali’s tube, and Prince Ahmed had not applied his artificial apple. Therefore, as neither the carpet, the ivory tube, nor the artificial apple has the least preference one over the other, but, on the contrary, there is a perfect equality, I cannot grant the princess to any one of you, and the only fruit you have reaped from your travels is the glory of having equally contributed to restore her to health.

‘If this be true,’ added the Sultan, ‘you see that I must have recourse to other means to determine with certainty in the choice I ought to make among you, and as there is time enough between this and night, I will do it to-day. Go, and get each of you a bow and arrow, and repair to the great plain outside the city, where the horses are exercised. I will soon come to you, and I declare I will give the Princess Nouronnihar to him that shoots the farthest.

‘I do not, however, forget to thank you all in general, and each in particular, for the presents you brought me. I have a great many rarities in my museum already, but nothing that comes up to the carpet, the ivory tube, and the artificial apple, which shall have the first place among them, and shall be preserved carefully, not only for show, but to make an advantageous use of them upon all occasions.’

The three princes had nothing to say against the decision of the sultan. When they were out of his presence, they each provided themselves with a bow and arrow, which they delivered to one of their officers, and went to the plain appointed, followed by a great concourse of people.

The sultan did not make them wait long; and as soon as he arrived, Prince Houssain, as the eldest, took his bow and arrow, and shot first. Prince Ali shot next, and much beyond him; and Prince Ahmed last of all; but it so happened, that nobody could see where his arrow fell; and, notwithstanding all the search of himself and everybody else, it was not to be found far or near. And though it was believed that he shot the farthest, and that he therefore deserved the Princess Nouronnihar, it was necessary that his arrow should be found, to make the matter evident and certain; so, notwithstanding his remonstrances, the sultan determined in favour of Prince Ali, and gave orders for preparations to be made for the wedding, which was celebrated a few days afterwards with great magnificence.

Ottoman Textiles Reveal Lifestyles From The Past at The Museum of Islamic Art

Apr 26, 2011

written by in Blog, Embroidery, Ottoman Empire

Intricate Historical Ottoman Embroidery Provides a Link To The Past

 

As we have several fine examples of Ottoman textiles, and an intricately embroidered Ottoman Waistcoat in the Zadah Gallery, we were particularly interested in a recent article in Hali magazine reviewing the ‘Embroidered Dreams’ exhibition running at the famed Museum of Islamic Art in Jerusalem, also reviewed on the GoJerusalem website. The exhibition features a collection of Ottoman embroidery dating back to the early days of the Ottoman Empire, from places as diverse as Greece and North Africa – which made up just a small part of the Ottoman Empire at the peak of its’ reach. The Museum of Islamic Art is well known for exhibitions that portray and reflect life in the East during specific periods in history, and this one is no exception – presenting a display reflective of what women did within the period and how they considered themselves.

The Ottoman Empire dates back to 1289 with the reign of Osman 1, who founded the Empire. Rising to prominence through the 15th, 16th and 17th Centuries, the Ottoman Empire was at its’ peak in the 16th Century. It fell into stagnation in the 17th and 18th Centuries, declining more rapidly in the 19th Century, finally coming to an end in the early years of the 20th Century – before and during the First World War. The Republic of Turkey is the successor state to the heart of the former Ottoman Empire.

Ottoman embroidery pieces are unique – hand-embroidered pieces where no two are the same. Traditionally, they feature floral patterns, but stand-out pieces include garden themed pieces and architectural designs. The pieces often include ornate designs and embellishments not seen in today’s mass-produced towels and textiles. Many of the pieces in the exhibition are known as ‘luxury towels’ but they have nothing in common with today’s towels – they were used more for decoration, and often comprised a part of a bride’s dowry – the Ottoman bride would display the pieces as a sign of her abilities and potential.

Embroidery has fallen out of fashion – women are no longer sitting around with hours to dedicate to the craft, and it’s no longer a much-enjoyed pastime. That makes the Ottoman embroideries all the more important as a piece of history, reflecting a culture lost in modern times. Their intricacy, uniqueness and unrivalled attention to detail makes Ottoman embroidery a a cultural icon from history that deserves our reverence, a forgotten craft from a time long past.

Ottoman Pieces For Sale in the Zadah Gallery

Ottoman Textile, from the early 1700s

18th Century Ottoman Textile

18th Century Ottoman Textile

Ottoman Waistcoat

Ottoman Waistcoat

Call us on (+44) 0207 935 7125 for more information on any of the pieces above

 

Hali Magazine Feature on the Ottoman Embroidery Exhibition

Hali Magazine Museum of Islamic Art Exhibition of Ottoman Embroidery Feature 001

Hali Magazine Museum of Islamic Art Exhibition of Ottoman Embroidery Feature 002

Ottoman Embroidery Resources

Four Centuries of Ottoman Embroidery

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