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Major Autumn Auction

Saturday 29. November 2014 at 3 p.m.

263 Lots

Our 2014 autumn auction

The generational change has set in motion a restructuring phase in the art market. Many collections compiled over the course of decades are now being dissolved, none more so than carpet collections. Heirs often feel no affinity with oriental carpets collected by their parents or grandparents and decide to sell them. Experienced older collectors frequently put up their treasures for auction during their lifetimes so as to have a hand in the proceedings themselves. This means that very good objects are returning to the market. Our autumn auction offers numerous examples of this trend.

Most of the fifteen Suzanis included in our A 85 sale have been consigned from the UK. The collector purchased them from leading rug dealers and is now selling them for reasons of age. – An elderly lady from northern Italy with many years of collecting experience has consigned forty-five carpets and textiles, instructing us to apply very moderate guide prices to ensure that preferably all her pieces will find new owners. We have indicated the provenance of this particular collection (Signora Gallo Collection). – Most of the Anatolian kilims are from two private collections. A Palatinate manufacturer was deeply involved in kilims for thirty years, but his children pursue other interests. A Swiss architect discovered his love of Anatolian kilims during many years of living in oriental countries. One of the greatest experts on Islamic architecture, he restored Islamic old towns on behalf of the Aga Khan Foundation and came into close contact with oriental textiles during his work. – Since the re-establishment of our company in 1987, Rippon Boswell has been able to successfully auction many rare and valuable Turkmen rugs. A particular highlight of this sale is the Eagle Group I carpet showing a stripe design which has been consigned from the USA.

The items offered at this sale also include several European pieces. The five cushion covers dating from the late Renaissance period were woven in northern German workshops run by Dutch emigrants and are truly lucky finds. The UK consignor purchased them from the famous C. John company in London a long time ago. Moreover, we are pleased to offer two modern French pictorial weavings. Woven ca. 1950 in the tapestry technique, the “Le Tarasque” Aubusson tapestry is based on a design by Jean Lurçat. The Picasso pile rug “Le Vase” was woven at Marie Cutolli’s Paris studio to an original design by Pablo Picasso in 1960.

 
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  • Moroccan Textile

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    • Lot90
    • OriginNorth Africa
    • Dimensions91 x 86 cm
    • AgeSecond half 19th century
    • Estimate EUR1,500
    The white cotton ground of this square cloth is embroidered with a large indigo box design enclosing four diagonal leaves. Its outer sides are decorated with pinnacles placed at the four corners as well as floral designs. Textiles of this kind were used as wrapping cloths. – Well preserved.
  • Tapisserie de la Marche

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    • Lot91
    • OriginCentral France, Limousin region
    • Dimensions234 x 174 cm
    • AgeFirst quarter 16th century
    • Estimate EUR4,000
    Coarsely woven, this tapestry was made in a rural workshop in the old county of Marche, then owned by the Lusignan family. In terms of style it is still rooted in the late Gothic period. The image is divided into two sections: a meadow with large flowering shrubs, two tree stumps and three grazing sheep drawn on a brown-black ground are represented at the bottom. A shepherd is standing at the top right, half of him extending into the upper section of the image. Very much lighter in colour, the upper section depicts a hilly landscape with a Gothic town at its centre; a large angel is floating above it while two castles are seen on mountain ridges in the background. The shepherd and angel point at each other with raised arms, creating a pictorial diagonal that unites them both. The representation of the town is reminiscent of a famous miniature from the Tres Riches Heurs of the Duc de Berry depicting the Mont Saint Michel. The French inscription at the upper end of the image has not been deciphered. It probably provides further information on the iconography of the tapestry. – Obvious signs of age and wear, many old rewoven sections.
  • Cushion face

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    • Lot92
    • OriginNorthern Germany
    • Dimensions54 x 52 cm
    • AgeLate 16th century
    • Estimate EUR1,800

    Due to intensifying political and religious quarrels with the Spanish occupation forces, an increasing number of Dutch tapestry weavers left their homes from the mid 16th century onwards. Many of them emigrated to Westphalia, Lower Saxony or Mecklenburg, where they would often be granted the protection of the state sovereign to set up their own workshops. The dukes of Mecklenburg in particular promoted the exiles, which led to Dutch artists establishing workshops in Rostock, Stettin, Greifswald and Wismar. Dutch tapestry weavers also settled in the Hanseatic cities of Lübeck and Hamburg. Documents show that the Hamburg Council commissioned the production of tapestry-woven cushion covers. The Hamburg Museum für Kunst und Gewerbe owns an important collection of such cushion covers.

    The following five small-format square tapestries, very finely woven from wool and with small sections or details picked out in silk, are characteristic of late Renaissance weavings in style. They were produced between ca. 1570 and 1620, probably in different locations. Three of the cushion covers show biblical scenes in the fields. Their stylistic differences suggest that they were woven in different workshops. The two cushion covers presenting floral designs were both made in the same workshop, which was probably located in Hamburg. The consignor purchased all five cushion covers from the well-known C. John gallery many years ago.

    The first tapestry depicts "Susanna and the Two Elders" (Daniel 13, 1-64). Susanna, the young wife of the rich Joakim, lived in Babylon. When bathing in her garden, she was surprised by two old judges who attempted to blackmail her into sleeping with them. When she refused, they denounced her, and she was sentenced to death although later rehabilitated. The foreground portrays the beginning of the event. In his depiction of the garden, with a palace in the background, the artist took great care to achieve richness of detail and a sense of perspective. A wide frieze of leaves, flowers and fruit constitutes the border. The corners have been used to accommodate further images. The figure at the bottom left symbolises faithfulness (fides), the figure at the bottom right is strength (fortitudo). Two Hanseatic cogs – high-sided barques used at the time – are seen in the upper corners of the border. – Framed like a picture, very good condition.

  • Cushion face

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    • Lot93
    • OriginNorthern Germany
    • Dimensions58 x 56 cm
    • AgeLate 16th century
    • Estimate EUR1,800
    This scene of six figures grouped around a table in a pillared hall depicts "Jesus and the sinful woman at the house of Simon the Pharisee" (Luke 7, 36-50). Christ is in conversation with Mary Magdalene, identified as a sinner by her low-cut neckline. Martha, characterised as an old woman, stands at the table to his right while Simon the Pharisee is at the opposite end. An angel sits at the front left of the table; Martha has her right hand in his hair while her left is touching Jesus. A boy at the front right of the table is bringing further dishes on a tray. – Framed to make a picture, very good condition.
  • Cushion face

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    • Lot94
    • OriginNorthern Germany
    • Dimensions53 x 54 cm
    • AgeLate 16th century
    • Estimate EUR1,800
    A forest is the site of an encounter between a king on horseback approaching with his retinue from the right and a woman, her arms raised in excitement, coming to meet and stop him. The woman is either delivering an important message, or she is a petitioner. Two shield-shaped central compartments in the border contain representations of queens. The scene is difficult to interpret. A connection with the story of David and Bathsheba is conceivable. Models for this type of image can be found in the printed graphic art of Lukas Cranach. The woven letters "CW" appear at the bottom. – Framed like a picture, very good condition.
  • Cushion face

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    • Lot95
    • OriginNorthern Germany, Hamburg
    • Dimensions52 x 51 cm
    • AgeFirst quarter 17th century
    • Estimate EUR1,800
    The field contains a dense floral design and a vase decorated with an angel’s head as well as four large red flowers placed in the corners. The wide border consists of leaves, blossoms and fruit, and in addition four birds have been incorporated into the sumptuous garland. – Framed like a picture, very good condition.

    Literature:
    RIPPON BOSWELL A 49, 23rd May 1998, # 5 and A 73, 25th May 2009, # 223

  • Cushion face

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    • Lot96
    • OriginNorthern Germany, Hamburg
    • Dimensions53 x 50 cm
    • AgeFirst quarter 17th century
    • Estimate EUR1,800
    The counterpart of lot … Framed like a picture, very good condition.
    • Lot97
    • OriginEast Caucasus, Kuba region
    • Dimensions178 x 112 cm
    • AgeSecond half 19th century
    • Estimate EUR12,000
    An antique Zeywa presenting three large sunburst medallions on a brown field; the main border shows a design of abstract birds. – Good condition, original end and side finishes. Heavy corrosion in the brown, small repaired areas.
  • Bakhshaish

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    • Lot98
    • OriginNorth West Persia, Azerbaijan
    • Dimensions540 x 345 cm
    • AgeLate 19th century
    • Estimate EUR4,800
    A huge, light red shield form takes up most of the light blue field. The composition centres on a large dark blue box medallion enclosing a star design surrounded by geometric stylised arabesques. The extra-wide dark blue border contains huge palmettes with jagged outlines, rosettes and sickle leaves. – Signs of age and wear, low pile.
    • Lot99
    • OriginNorth West Persia, Kurdistan
    • Dimensions582 x 370 cm
    • AgeCa. 1900
    • Estimate EUR7,500
    The midnight blue field is decorated with a dense floral repeat in brilliant and diverse colours. This large Bijar came into the possession of a Mainz patrician family prior to World War I. – Very good condition.