It is as obvious as day is not night there is a small but vocal group of RK haters in rugdumb.
Two of the more operatic, dennis dodds and bertram frauenknecht, never cease to express their RK hatred, as the recent forray we made on farcebook demonstrated.
Both are seasoned facebook jockeys, their trash-talking nonsense anytime RK's name is mentioned demonstrates the extreme limits their attempts to disrespect us, with a fervor that belies anything reasonable, invariably engenders.
Both have much to be upset about concerning RK's exposure of their machinations, petty in frauenknecht's case and not so petty in dodds's.
We find it amazing anyone could believe the smokescreen of innocence and righteousness they throw up at the first mention of any of the less than honest deeds or incorrect statements concerning us, or carpets they are trying to sell, or have already sold.
We have already spent considerable time and energy on dodds and even a cursory examination of RugKazbah.com's discussion board proves what a crook, liar and thief dennis dodds unfortunately is, and apparently always will be.
There is far less, in fact almost nothing, about frauenkencht, who quite honestly is not worth our time and effort since he is such a minor figure whose actions are decidedly petty compared to dodds.
However, our farcebook experience and notices we have received from some readers about what has happened since have convinced us we should shine a bit of RK's light of truth on him, both past and present.
We first met frauenknecht at the textile museum's Turkmen exhibition in 1980 which was held in conjunction with the second icoc event.
We have already written about how frauenknecht then became one of our students, who benefited greatly from our largess in both friendship and sharing our collection and ongoing research in rug studies.
Soon thereafter we went to Turkey with him but after several days of his incessantly trying to convince us how to treat the Istanbul dealers we told him to leave and get out of our sight.
This was in 1981, and for the next 6 or 7 years we had on and off contact with him thanks to his penchant for petty theft, going behind our back to use our information for his own purposes, and generally for acting more like an enemy than a friend.
To this day frauenknecht denies all of this, and his recent attempt to laugh off his inscribing his 1982 small Anatolian kelim sales catalog demonstrates the absurd levels he will delve to preserve his fictionalize version of the truth.
By the way RK selected all of the better pieces in that sales catalog and when we told him to leave our suite in the Pera Palace Hotel in Istanbul we waved off wanting to share in the purchase, exhibition and sale of them in frauenknecht’s gallery, something that also was our idea.
Title page of "Anatolische Kelim" inscribed by author bertram frauenknecht to RK “friend and teacher”
We have elsewhere mentioned a number of sleazy acts frauenkencht played on us, like immediately after we told him about the publication we were organizing with James Mellaart, Belkis Balpir and udo hirsch and introduced him to James Mellaart frauenknecht went behind our back and signed Meellaart up to write an article for his next sales catalog. This turned out to be a complete failure as Mellaart only wrote several pages of worthless gibberish but this did not stop frauenknecht and a few others from pretending to spin it as a success.
However, the reason for this post is not to further highlight frauenknecht's history with RK but to comment on the recent appearance of the fragment pictured at the beginning of this missive and just below that formerly was frauenknecht's.
frauenknecht's late 19th century western Anatolian commercial workshop kelim is on the left
RK believes everyone now recognizes this kelim is a very late, circa 1880, workshop weaving that sports several obvious synthetic dyes.
However, circa 1985 when frauenknecht first acquired it he was spouting off how early it was. He even got Heinrich Kirchheim to buy one of the supposed three fragments frauenknecht produced from a larger single piece. We do not know what Kirchheim paid but you can be sure it was far too much.
RK remembers seeing it with frauenknecht and hearing from him how early and wonderful it was. We laughed and told him his color-blindness was showing. By the way frauenknecht really is color blind.
All frauenknecht's spouting off was and still is nonsense concerning this kelim fragment that is a worthless late uninteresting for any reason other than the fact it is probably a very late version of the dragon and phoenix iconography originally appearing on certain Armenian and eastern Anatolian Kurdish large carpets.
This is what this iconography is all about, it is not as fiorintino and obviously frauenknech think related to either of the two carpets pictured with it.
We mention this as but another demonstration of the myth bertram frauenknecht was, in the 1980's or anytime since, a brilliant carpet savant.
Like others, need we mention dodds, his reputation is as nonsensical as his believing this fragment is anything but an urban workshop produced weaving that has liitle to no importance for carpet studies. Most likely made in or around Ushak.
But do not tell this to frauenknecht, or francesca the plagiarist fiorintino who recently posted the picture of the former frauenknecht fragment and the two other rugs on farcebook and since has elicited a number of comments, including some from frauenknecht.
There is hardly anything to discuss, the misleading oblique references fiorintino is trying the draw from it, by picturing it next to two far earlier and more interesting in their own right Anatolian Village rugs, are as worthless as it is.
Go read it if you think we are unfairly describing their chatter.
OK, enough about frauenknecht and the bogus bunk he is anything but color blind rug dealer whose checkered history has reduced him to facebook jockeying to hook new low level sucker clients.
Best of luck, bertram.