the decorative carpet by alix g. perrachon - excerpt

The Monacelli Press

THE DECORATIVE CARPET F I N E H A N D M A D E R U G S I N C O N T E M P O R A RY I N T E R I O R S A L I X G P E R R AC H O N

F O R E WO R D B Y D O R I S L E S L I E B L AU

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To purchase a copy ofThe Decorative Carpet

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The Decorative CarpetFine Handmade Rugs in Contemporary Interiors

A L I X G P E R R AC H O N

The Monacelli Press



The Monacelli Press

Copyright copy 2010 The Monacelli Press a division of Random House Inc

Text copy 2010 Alix G Perrachon

All rights reserved Published in the United States by The Monacelli Press a division of Random House Inc New York

The Monacelli Press and the M design are registered trademarks of Random House Inc

L I B R A R Y O F C O N G R E S S C ATA L O G I N G - I N - P U B L I C AT I O N D ATA

Perrachon Alix G

The decorative carpet fine handmade rugs in contemporary interiorsby Alix G Perrachon foreword by Doris Leslie Blau mdash 1st ed

p cm

Includes bibliographical references

ISBN 978-1-58093-299-8 (hardcover)

1 Rugs in interior decoration I Title II Title Fine handmade rugs in contemporary interiors

NK21155R77P47 2010

747rsquo5mdashdc22 2010011649

P R I N T E D I N C H I NA

10 9 8 7 6 5 4 3 2 1

F I R S T E D I T I O N

wwwmonacellipresscom

D E S I G N B Y Sara E Stemen

5

To my late father George M Gudefin who taught me to strive only for the best

and to my mother Joan who has always believed I could

To my beloved husband Jean without whom this book would not be

7 Foreword DORIS LESLIE BLAU

8 Introduction

10 Thomas C Achille18 Charles Allem24 Penny Drue Baird32 Bruce Bierman38 Samuel Botero46 Leonard Braunschweiger52 Ronald Bricke58 Clodagh64 Carl DrsquoAquino72 Jamie Drake80 Mary Douglas Drysdale86 David Easton96 William R Eubanks

104 Charles Faudree110 Glenn Gissler 116 Darren Henault

122 Jiun Ho 130 Terry Hunziker138 Thomas Jayne146 Robert Ledingham152 Edward Lobrano158 Suzanne Lovell164 Robin McGarry170 Juan Montoya176 Matthew Patrick Smyth182 Stedila Design188 Stephanie Stokes194 Suzanne Tucker202 Irwin Weiner208 Bunny Williams216 Paul Vincent Wiseman 224 Vicente Wolf

APPENDIX

230 Purchasing and Care Essentials

232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments

255 Photography Credits

256 About the Author

Contents






Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents

7

As long as mankind inhabits this earth there will always

be demand for beautiful things to enrich our lives and

make living a more exciting and passionate experience As

our environments become depersonalized on the outside

the more romantic and personal they have to become on

the inside Home is our haven and must reflect the quali-

ties that enhance our being during periods of relaxation

and rest

At last a long overdue book on decorative carpets has

appeared on the scene This book expresses what has been

so difficult to get clients to visualizemdashrugs situated in dec-

orated rooms rather than just piled up in showrooms By

exhibiting the works of some of todayrsquos most prestigious

designers we are able to see in situ the importance of the

rug and its prominence in a roomrsquos setting

Whether we start the decorating process with the car-

pet or introduce it later it will always be a roomrsquos focal

point This book represents an entirely new approach to

looking at rugs in interiors and helps the eye see what it is

possible to accomplish in an interior setting The inspired

designs that inhabit these pages are a glowing tribute to

the talents of the carpet weavers and interior designers

who enable a space to become a home You the reader are

able to see how important the rug is to an interior and how

its placement is essential to the harmony and flow of the

rooms The numerous designs here are eclectic some-

times quirky and are occasionally formal elegant and rich

in cultural heritage The imagination takes over

It is important to remember that upon entering any

space the eye starts at the floor and rises from that point

The floor and its covering immediately establish a mood

that is then enhanced by the designer who selects fabrics

and furnishings that will perpetuate the atmosphere cre-

ated by the rug The beautiful images in this book help

show the reader how the impact of the carpet and its

placement can make a tremendous difference in the per-

ception of an interior

The carpet can almost appear as a painting on the

floor and can stimulate all that comes after but the deco-

rative use of carpets has never been fully explored as a

topic and for that reason this book fills a very important

void It will prove to be of enormous help to clients design-

ers and individuals interested in rugs alike because the

settings put forth are so varied

The tactile senses assume a major role when dealing

with any form of textile Whether the eye the hand or the

foot is used to experience a carpet the sensual nature of it

comes to the fore Allowing the eye to become captivated

by a pattern reaching down to touch a rug from a seated

position or walking barefoot on one the sudden contact is

exciting The character of the space in question is defined

The room suddenly becomes a unified entity and The

Decorative Carpet brings that to us in a most visually

passionate way It is not at all surprising that Edgar Allan

Poe in his famous quote ldquoThe soul of the apartment is the

carpetrdquo sums this up for us so poetically

DORIS LESLIE BLAU

Foreword

7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille

ldquoOriental and decorative rugs have fascinated me ever since I was a childrdquo says Thomas

C Achille who was captivated by their exotic allure at a very early age Today his interior

design practice specializes in custom luxury yachts in addition to residential and

commercial projects ldquoThere is nothing comparable to handmade rugsrdquo he continues

ldquoTheir texture color and the thickness of their threads make them special A machine-

made rug canrsquot approach their quality no matter how hard it may tryrdquo

Renowned for creating interiors that fuse the contempo-

rary with the classic Achille often sources fine antique fur-

niture for his clients along with antique rugs ldquoI shop for

antiques because nothing touches their integrityrdquo he com-

ments When hunting for a carpet he generally seeks a

minimalist toned-down palette that will complement a

modern monochromatic look

By far he favors antique muted Oushaks for their

purity and simplicity in color and design Sultanabads

Tabrizes Savonneries and Aubussons follow closely

behind Early in his career in the 1970s he was noted for

being among the first to incorporate kilims into interiors

Now he uses these strongly graphic flatweaves like

fabricmdashusing them on furniture like upholstery and as bed

covers very much the way they were used historically

instead of only on the floor When a new rug is called for in

a project he will turn to a needle point or Tibetan rather

than to a reproduction of an antique oriental rug

Rugs find themselves primarily in Achillersquos living

rooms dining rooms libraries and master bedrooms

Generally he prefers placing one room-sized rug in a

space rather than several smaller pieces He says emphat-

ically ldquoLet the carpet be the starrdquo To his mind all other

elements in a room should play off the carpet including

fabrics A passionate advocate of pure monochromatics as

opposed to pattern over pattern he also likes the texture

of the fabrics to emulate the rug whenever possible and

would choose a nubby silk to go with a coarse Oushak as

opposed to a smoother silk for example ldquoThe carpet sets

the tonerdquo he states ldquoDecorating around a rug is so incred-

ibly easymdashI hope my clients donrsquot find out how simple it

really isrdquo

Achillersquos most memorable carpet project involved

the $175000 purchase of a ldquodrop-dead Oushakrdquo for the

main salon of a 350-foot-long private yacht His team was

informed that the rug would have to be secured to the

parquet floor to keep it stationary as the vessel pitched in

the water however ldquoWe didnrsquot think about that when we

bought the rugrdquo recollects the designer Screws and brack-

ets were carefully threaded through the weave without

creating any holes and the rug which also inspired the

entire yachtrsquos color scheme is still in perfect shape today

ldquoRugs are timeless classicsrdquo concludes Achille ldquoThere is

nothing like one to give a room personality and soul Each

is a work of art that will last thanks to its aesthetic and

intrinsic valuerdquo

An ivory-ground Sultanabad-design rug featuring an all-over organic floral design with punches of blue and coralbeckons the visitor into this airy Los Angeles solarium A second Sultanabad anchors the far end of the room

11

11

Thomas C Achille






































really isrdquo
















11

14 T H O M A S C AC H I L L E

A B OV E Bold dark hues introduced by the piano and the modern art in this Beverly Hills music room are offset by thesubtle hues of the early-twentieth-century ivory-ground Turkish Oushak and its delicately drawn floral pattern The rug invites the visitor to proceed toward the adjoining kitchen where an Oushak with similar attributes is displayed

O P P O S I T E Golds and creams in this Aubusson rug inspired by a classic French design are also picked up in the elegant curtains and contrast well with the saturated coral hues of the other fabrics in this formal drawing room




33

Bruce Bierman

For Bruce Bierman the warmth of a handmade rug offers a much needed respite from the

uniformity of our cold technological surroundings Trained in architecture and the fine arts

he is acutely sensitive to the importance of considering every surface in a roomrsquos designmdash

including the floor ldquoEvery job of mine has a rugrdquo states the renowned Manhattan-based

designer ldquoWhen selecting a piece whether antique or new I take my cue from the architec-

tural spacerdquo Long before being ldquogreenrdquo was in fashion Bierman was drawn to rugsrsquo natural

materials for their durability and overall aesthetics Of the many styles of rug he has used

throughout the years his favorites include soft-toned Tabrizes and Agras more formal

Aubussons needlepoints and contemporary Tibetans both monochromatic and pat-

ternedldquoAlways start the room with the rugmdashit sets the tonerdquo insists

the designer whose rooms often feature one single room-

sized rug to keep the look clean and simple ldquoRugs are so

spectacular that I like them to stand alone in the room unob-

structed by competing fabric or wall patternsrdquo While he

favors monochromatic textured linens leathers and silks

over patterned fabrics he also warns against deliberately

matching rugs with other elements in the room because it

will seem too contrived Sometimes he likes to create the

unexpected as for instance when he chose a very formal

bold red Aubusson needlepoint-design rug with a traditional

central medallion motif for his own contemporary loft

Bierman freely mixes different kinds of rugs from

room to room in the same project The unifying theme

may not necessarily be the design of the rugs themselves

but other elements in the space such as wall color In

one project he placed Aubussons in the entrance hall

living room and dining room a needlepoint in the

family room and contemporary Tibetans in the library

and media room

The designer works to make choosing carpets a pain-

less process for his clients he has found that the key is to

properly educate them with shopping expeditionsmdashwhere

they can see rugs and get a feel for the marketmdashfollowed

by in-home trials ldquoPeople are often initially distrustful and

afraid of the rug selection process They have no gauge of

their worth and are unfamiliar with their foreign namesrdquo

he explains When dealing with a challenging space the

designerrsquos approach is also practical and methodical he

plots the furniture placement over a photograph of the rug

to determine the size needed and to minimize any poten-

tial surprises for the client

Bierman has also found that the increased incidence

of allergies including asthma has triggered a downward

trend for wall-to-wall carpeting in favor of area rugs ldquoI canrsquot

imagine that rugs will ever go out of fashionrdquo he states

An Aubusson-design needlepoint featuring an oval Louis XVIstyle medallion radiates in this Florida living room Ocean-blue accents picked up in the throw pillows make a crisp contrast with its clean ivory ground and touches of sand-colored hues in the borders transporting this traditional European rug smoothly to a contemporary home in the tropics

33

Bruce Bierman





























and media room


















73

Jamie Drake

ldquoIrsquom known for my passion for color and rugs are a wonderful place to begin a color

schemerdquo states Jamie Drake whose clients include Madonna and New York City Mayor

Michael Bloomberg Even in the 1970s when clients with minimalist interiors only

wanted them as accent pieces Drake has always included rugs in his designs and they

have become an ever-more important component of his work

Regardless of genre or age Drake is drawn to high-end

rugs and avoids those that ldquomimic what is hugely preva-

lent in the marketrdquo More specifically he continues ldquoIn

antiques I love everything from Savonneries Aubussons

and Axminsters to Sultanabads and Isfahans with a per-

sonal preference for all-over designs versus central medal-

lionrdquo His passion for Tibetans and other high-end new

rugs however led him to the creation of his contemporary

Jamie Drake Collection for Safavieh

ldquoIdeallyrdquo notes the designer ldquoI like to start with the

rug but many times I end up doing it backwards and com-

ing up with a fabulous rug anywayrdquo He always advocates

anchoring a space with a single room-sized piece rather

than a variety of smaller scattered rugs which he finds

create a ldquosomewhat dated look as well as visual confu-

sionrdquo Also using one impressive striking rug goes hand-

in-hand with creating his characteristically bold look

Drakersquos talent for integrating strong vibrant colors into

many genres and periods defines his signature style Color

including the myriad hues found in oriental and decorative

rugs serves as the uniting element in the designerrsquos eclectic

work which fuses the traditional with the contemporary He

extracts a base tone from each rug that is echoed through-

out a room and accented with other hues

Drake enjoys placing rugs of different genres through-

out a project While pattern plays a role in his selection

color is the dominant consideration that he uses to con-

nect one rug with another If a living room rugrsquos field color

is green and its border red for example an adjoining

libraryrsquos rug field color could be red its border green More

important the respective tonalities of the floor and rug

must be in sync with each other A rug with deep satu-

rated colors looks best over a rich dark floor and vice

versa Drake has even been known to adjust a floorrsquos finish

to best enhance a rugrsquos beauty

Rugs played an essential role in Drakersquos renovation of

early-nineteenth-century Gracie Mansion New Yorkrsquos offi-

cial mayoral residence in 2002 He easily found rugs for

every room except the State Sitting Room which was hung

with a bold floral wallpaper The Drake design staff went

into overdrive frantically combing the entire rug market in

search of this elusive carpet Drake rejected over two dozen

pieces and the room remained unfinished only three days

before the installation Just hours before his deadline how-

ever the ideal rug materialized An antique Turkish Oushak

exhibiting an olive green field with accent details of camel

and cream played perfectly off the colors in the wallpaperrsquos

complex design and pulled the whole room together

Intense blues and greens drawn from this earlyndashtwentieth-century Persian Mahalrsquos secondary colors are the inspirationfor the walls window treatments and upholstered fabrics of this formal room helping to incorporate the historic piecesmoothly into a fresh and up-to-date deacutecor

73

Jamie Drake























































86

David Easton

After the architecture and the mantelpiece the carpet is the most important decorative

element in a space according to David Easton the neoclassic designer whose interiors

exude a sophisticated traditional aesthetic ldquoOne needs to start with the rugrdquo he states

ldquoHow can you make any other decision in the room including the choice of sofa fabric

without itrdquo Easton professes a reverence for handmade rugs that is rooted in their

handcrafted quality and their deep-seated ancient traditions For him there is an almost

sacred quality about rugs that simply cannot be replicated by machines ldquoItrsquos like having

a painting on the floor It affects everything else in the roomrdquo he notes

For Easton the search for the perfect rug has taken him to

the four corners of the globemdashfrom Madeira to Istanbul

Bhutan and onto the Silk Road ldquoThe pursuit of the carpet

is a wonderful travelogue in itselfrdquo he says The thrill of

seeing rugs being washed in a river in Isfahan in Iran and

hand-knotted in Bucharest is to him as wonderful as see-

ing the actual end product Some of his clients have been

fortunate enough to travel with him deepening their

appreciation for the art form

Selecting the right rug for a space is all about establish-

ing harmony with the rest of a room to Easton who was

originally trained as an architect ldquoItrsquos like musicmdashthe mix-

ture of subtle colors and textures should be harmoniousrdquo

he remarks In his thirty-year career he has used a wealth

of rugs from Savonneries Portuguese needlepoints and

Persian Sultanabads to Scandinavian rya rugs and Tibetans

Regardless of provenance style or period a well-crafted

rug must to Easton feature a thin ribbed textured quality

typically characteristic of worn older pieces that suggests

what he calls ldquoa grace of agerdquo He states with characteristic

candor ldquoI do not like the cut pile lookrdquo

Regardless of the type the designer advises ldquoNever

buy a rug that is too sharp in color It should blend into the

totality of the room and the scale of its pattern must be in

proportion to that of the roomrdquo If a rug that catches his

eye is slightly off in size however he admits ldquoI would still

buy it if I really loved itrdquo Eastonrsquos dislike for wall-to-wall

carpeting leads him to use handmade rugs in every room

except for kitchens He prefers to place rugs directly on

wood floors but he will also lay them over sustainable

sisal carpeting particularly in bedrooms to bestow a spe-

cial handcrafted aura on a space

A French Savonnerie dating to the turn of the nineteenth century exhibits a series of concentric oval and circular medallions ornamented with floral wreaths and motifs Its brilliant yellow is the foundation for the entire color scheme of this lavish bedroom

86

David Easton










































90 DAV I D E A S TO N

A B OV E Hints of gold drawn from the large cabbage rose pattern adorning this Portuguese needlepoint are the genesisfor bright walls that set this sumptuous drawing room aglow

O P P O S I T E An English Axminster carpet dating from the turn of the nineteenth century and exhibiting a large centralfloral medallion is the perfect complement to finely detailed boiseries in this genteel dining room




DAV I D E A S TO N 93


A P P E N D I X 233

Until the 1850s the Indian rug industry suffered a period ofdecline triggered by the waning of Indiarsquos Mogul empire (1526ndash1857) in the eighteenth century Spurred by strong Europeandemand a talented pool of local labor and access to good-qualitywool the city of Amritsar in northwestern India previouslydevoted to shawl manufacturing became the most importantweaving center in India throughout the latter half of the nine-teenth century and the early twentieth reportedly employing15000 to 20000 men and boys In 1906 Amritsars won interna-tional recognition at the Indian Art Exhibition in Delhi

Produced for export in British- and foreign-run factoriesAmritsars were woven in a variety of designs to please their for-eign customers These include geometric Turkoman (CentralAsian) and classic Indian Mogulndashinspired patterns exhibiting

naturalistic floral motifs (eg millefleurs designs) and non-Indianelements such as the cloudband Pictorial carpets display localfauna and wild animals such as lions tigers elephants hyenasand cheetahs Amritsars also display Persian-inspired floralmotifs namely all-over floral medallion and corner designs andstylized village patterns such as those seen in Heriz rugs Sub-dued ldquooff colorsrdquo including mauves burgundies light blues tealsand yellows distinguish these Indian rugs from their Persiancounterparts

Production suffered during the Great Depression of the 1930sand following the partition of 1947 which drove many Muslimweavers to emigrate to Pakistan Since then the industry hasrecovered with an influx of new weavers including local womenand Tibetan immigrants

Amritsar

Amritsar northwest India circa 188013ft 7in by 25ft 10in

Amritsar northwest India early twentieth century13ft 10in by 15ft

Amritsar northwest India circa 1910 14ft 6in by 17ft

Amritsar northwest India circa 191011ft by 16ft 8in


Amritsar northwest India early twentieth century12ft 10in by 17ft 8in

232 A P P E N D I X

The former capital of Indiarsquos Mogul Empire (1526ndash1857) and hometo the Taj Mahal the city of Agra became a carpet weaving centerduring the golden age of Mogul art and was particularly activeunder Akbar the Great (1556ndash1605) although there are no surviv-ing documented examples Agras from that period are believed tohave featured characteristic Mogul designsmdasha combination of Per-sian Sefavid and Timurid elements (relating to Tamerlane andexhibiting a blend of Near and Far Eastern sources) Under Britishoccupation in the nineteenth century carpet weaving experienceda revival although pieces were generated mainly under the con-trol of foreign-owned firms and destined for export to GreatBritain and the West A number of pieces known as ldquojail rugsrdquowere woven by prison inmates here and throughout India

Unlike their Persian and Turkish counterparts Agras and mostother Indian rugs do not vary in technique or design from one

region to the next Hence ldquoAgrardquo has become a generic marketterm for eighteenth- and nineteenth-century room-sized rugsfrom India and indicates no specific provenance Many designsare inspired by classic seventeenth-century Persian Sefavid rugsand Mogul rugs which include all-over angular designs withscrolling leaves ogival latticing vines and large finely detailedflowers Greens blues and burgundies on an ivory field are oftenfeatured Most antique Agras on todayrsquos market date from the latenineteenth and early twentieth centuries Generally viewed by rugscholars as poor copies of their purer Persian counterparts theyare nevertheless prized in the decorative market for their denseweave classic designs and unusual hues Agra continues to be anactive weaving center and its antique carpets are a source ofdesign inspiration for many of the regionrsquos new rugs which areexecuted in a full range of qualities

Agra

Agra India mid-nineteenth century11ft 10in by 16ft 3in

Agra India circa 189010ft 2in by 13ft 5in



New Agra-design rug Romania New Agra-design rug India

A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra














The Monacelli Press



The Monacelli Press






Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents






Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents

7








and rest

















































DORIS LESLIE BLAU

Foreword

7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra











The Monacelli Press






Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents






Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents

7








and rest

















































DORIS LESLIE BLAU

Foreword

7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra














Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents






Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents

7








and rest

















































DORIS LESLIE BLAU

Foreword

7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra














Perrachon Alix G


p cm


ISBN 978-1-58093-299-8 (hardcover)


NK21155R77P47 2010



10 9 8 7 6 5 4 3 2 1




5





8 Introduction




APPENDIX


232 Gallery

252 Glossary

253 Further Reading

254 Acknowledgments



Contents

7








and rest

















































DORIS LESLIE BLAU

Foreword

7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









7








and rest

















































DORIS LESLIE BLAU

Foreword

7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









7








and rest

















































DORIS LESLIE BLAU

Foreword

11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









11

Thomas C Achille






































really isrdquo
















11

11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









11

Thomas C Achille






































really isrdquo
















11







33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra















33

Bruce Bierman





























and media room


















33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









33

Bruce Bierman





























and media room


















73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









73

Jamie Drake























































73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









73

Jamie Drake























































86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









86

David Easton










































86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









86

David Easton


















































A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra

















A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra






A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









A P P E N D I X 233





Amritsar







232 A P P E N D I X




Agra









the decorative carpet by alix g. perrachon - excerpt

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