The khorjin face on the cover of the "From The Bosporus to Samarkand"(FTBTS) was many, many moons ago sold with its pair(other half) at a sothebys.
This happened when the sotheby saleroom in NYC was located on Madison Ave and they were still called Sotheby Parke Bernet.
Dave Chapman was the owner of the bagfaces at the time of the sale and also at the time of the FTBTS’s publication.
The buyer at the sale, who will remain nameless for the present, was involved in the rug game and still is now but more as a closet-case rug dealer, who is hidden away somewhere on the East Coast, than a high profile auction buyer.
No matter in further identifying this person but it is noteworthy some years later he sold them off.
What exactly happened to them after that, or to whom he sold them, are both not something we remember right now.
All this palaver is to say RK has handled both of the FTBTS faces and know them quite well.
We also recognize they are later copies of the WAMRI example but that said they are still quite early and better than almost any other of the type.
We realize our saying so might cause doubt amongst some readers and, frankly, we could give a flip. However and although we are not here to educate the competition by divulging too much, we will point out a few interesting aspects to prove our point.
The strong vertical compression visible in the FTBTS khorjin's quartet of red octagons; the much less complex "script" placed in the central medallions six horizontal “radial arms” and the far less animated and articulated treatment of the stars in medallion's center are just a few aspects where this difference is obvious and telling.
Notice if you will the way the weaver of the WAMRI bagface has the top row of stars “disappearing” into the upper limits of the medallion. This, and other small but significant features we could cite, denotes this weaver’s stronger connection to the tenets of the archaic iconography that were surely the source of this enigmatic design.
Calling this design a “beetle” is both ignorant and foolish. We would rather go on record with our belief this design is related to the earliest piece of “Caucasian” embroidery we know.
We cannot at this time provide any real documentation to prove our supposition other than the somewhat similar design parallels they share.
Plate Two; Weaving Art Museum current exhibition “Soumak & Kelim: Weaving of the Caucasus”
But as undocumented as this relationship might presently be, the idea the design has anything to do with “beetles” is far more tenuous, droll and unsupportable.