A wool pile of symmetric knots on a cotton foundation. The octagonal ivory field of this western Turkish workshop carpet displays a repeating textile pattern of square-headed flowers and attendant leafy stems. The flower rows are split evenly to converge toward the center. That is, they converge in six rows apiece toward the implied center line. The drawing is geometric rather than curvilinear. Detail tones include: greyish purple, nude beige and celadon. The strip style abrashed celadon main border is in a modified Heriz/Karaja style with square clusters of florets and intervening rosettes. The palette is quite light overall. The entire carpet has something NW Persian about it, but in a lighter palette and different format. The cotton warp indicative of the transition period after WWI. The quasi-Persianate style also implies that Oushak carpets were in competition with Persian goods of the dame price range. Oushak has the longest continuous history of any Oriental rug center, going back to the 15th century, always abreast of changing fashions in interior décor. and providing for both the domestic Ottoman/Turkish market of palaces, mansions, mosques and official buildings, and for export to Europe and America. This carpet is a worthy example of the bespoke creations of the early 20th century, when Oushak borrowed from various traditions to create an innovative style. One could not mistake an Oushak for a Heriz, Sultanabad or Mahal. The substantial size of this piece implies that it was a special order as 20 foot carpets were not made for the speculative trade.