1. “Quelques parties de ce revêtement ont été dérobées et vendues à Téhéran à des prix très élevés.” Quoted in T. Masuya, “Persian tiles on European walls: collecting Ilkhanid tiles in nineteenth-century Europe,” Ars Orientalis 30 (2000), 45.

2. Masuya, “Persian tiles,” 46-50.

3. G. Curatola, ed., Eredità dell’Islam: arte islamica in Italia (1993), 141.

4. H. Kevorkian, Exhibition of the Kevorkian Collection (New York, 1914).

5. “New Rubaiyat of Omar discovered in ancient volume,” New York Times, 12 April 1914, SM2.

6. F. Sarre and F.R. Martin, Die Ausstellung von Meisterwerken muhammedanischer Kunst (Munich, 1910-1912).

7. See D. Roxburgh, “Au bonheur des amateurs: collecting and exhibiting Islamic art ca. 1880-1910,” Ars Orientalis 30 (2000), 9-38.

8. Sarre and Martin, Ausstellung, I:iii.

9. The arts of Persia and the Levant (New York, 1899), quoted in M. Jenkins-Madina, “Collecting the ‘Orient’ at the Met: early tastemakers in America,” Ars Orientalis 30 (2000), 73-74.

10. D. K. Kelekian, The potteries of Persia (Paris, 1909), 8.

11. D.K. Kelekian, The Kelekian Collection of Persian and analogous potteries (Paris, 1910), “Preface.”

12. See especially the Illustrated catalogue of the notable collection of modern French painters… formed by and belonging to the widely known antiquarian Dikran Khan Kélékian (New York, 1922). The artists represented range in time from Goya, Corot, and Delacroix, to Matisse and Derain.

13. M.V., “Kelekian’s face: artists pay tribute,” Art News 43 (13), 15-31 Oct 1944, 14. The connection was probably first drawn in print by Roger Fry: “The case of Mr. Kelekian… is one of great interest. Here is a man whose whole life has been spent in the study of early art, who at a given moment had the grace to see its implications, to see that principles precisely similar to those employed by early Persian potters and Fatimite craftsmen were being actually put into practice by men of the present generation”: “Modern paintings in a collection of ancient art,” The Burlington Magazine for connoisseurs 37 (1920), 302-309.

14. On the broader cultural context of this process, see D. Summers, Real space: world art history and the rise of Western modernism (London, 2003), 15-36.

15. On the laments, mostly in the French press, see Roxburgh, “Au bonheur des amateurs,” 27-28.

16. “The Munich Exhibition of Mohammedan Art – I,” The Burlington Magazine for connoisseurs 17 (1910), 283-90; and “The Munich Exhibition of Mohammedan Art – II,” The Burlington Magazine for connoisseurs 17 (1910), 326-33.

17. Hilary Spurling, Matisse the master, a life of Henri Matisse: the conquest of colour, 1909-1954 (New York, 2005),53-64.

18. A “letter from Munich” published in the St. Petersburg journal Apollo: translation by P. Vergo in K. C. Lindsay and P. Vergo, eds., Kandinsky: complete writings on art (Boston, 1982), 75.

19. R. Fry, Henri-Matisse (Paris, [1930]), 36.

20. A.U. Pope, “Roger Fry,” Bulletin of the American Institute for Persian Art and Archaeology 7 (1934), 53-54.

21. A.U. Pope, An introduction to Persian art since the seventh century A.D. (New York, 1931), 2. Further on Pope, see J. Gluck and N. Silver, eds., Surveyors of Persian art (Ashiya, 1996); and B.D. Wood, “‘A great symphony of pure form’: the 1931 International Exhibition of Persian Art and its influence,” Ars Orientalis 30 (2000), 117-19.