Saturday 12. March 2016 at 3 p.m.

88 Lots
  • The Jacoby Sehna Kilim

    Add to wishlist
    • Lot169
    • OriginNorth West Persia, Kurdistan
    • Dimensions180 x 130 cm
    • Agemid 19th century
    • Estimate EUR24,000 - 28,000
    VOK Collection, Caucasus – Persia 71

    In 1966, it took Heiner Jacoby, son of the PETAG founder, days of negotiation in Istanbul before he was able to purchase this highly sophisticated Sehna kilim for his private collection. Later he reluctantly parted with his favourite piece, consigning it to us for our May 1988 auction. The price achieved at the time (DM 64,900) was a new record. – Woven as finely as a cloth from the best quality wool, in a rich range of colours and an elegant, delicately drawn design, this Sehna kilim is captivating on account of its perfection and extraordinary beauty. The field design – offset rows of pairs of botehs inclined towards each other – encloses tiny flowering shrubs and minute flowering trees in the intervening spaces. They all appear to float almost weightlessly under a blue-black sky. The main border – fine, red and white diagonal stripes running elegantly across the corners to converge in a steep angle at the top and bottom centre – is wide enough to provide a solid frame for the expanded design of the field. The overall effect is that of a harmonious, balanced whole. – Minor rewoven areas, very good overall condition; the original net-like end finishes have survived.

    BLACK, DAVID & LOVELESS, CLIVE, The Undiscovered Kilim. London 1977, pl. 55 *** STEVEN KING GALLERY, Prayer rugs. Concord, MA 1983, no. 2

    RIPPON BOSWELL, A 27, 7th May 1988, # 112 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim and other Flatweaves. (Text by Hamid Sadighi) Munich 1996, no. 71 *** OPIE, JAMES, Tribal Rugs. Nomadic and Village Weavings from the Near East and Central Asia. Portland 1992, p. 165, no. 9.18 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, pl. 49

  • Konya Kilim

    Add to wishlist
    • Lot170
    • OriginCentral Anatolia
    • Dimensions425 x 159 cm
    • Ageca. 1800
    • Estimate EUR7,000 - 9,000
    VOK Collection, Anatolia 21

    In this large single-panel village kilim from the Konya region, the quality and diversity of the brilliant colours are captivating. Although a striped kilim in design type, it is a strange variation. Two examples from the same group were published by Konzett and Cootner (McCoy Jones Collection). – Narrow stripes – either brocaded or plain and undecorated – regularly alternate with wider panels containing eight slender, red-brown or blue-green double niche motifs. Delicately hatched in thin lines, the tips of their arches extend as far as the lateral sides. Similar double niche motifs are encountered in saf multiple prayer rugs. According to Hirsch, such kilims were used as floor rugs, divan covers or wall hangings. – Slight signs of age and wear, corroded brown. Mounted onto canvas

    COOTNER, CATHRYN & MUSE, GARRY, Anatolian Kilims. The Caroline & H. McCoy Jones Collection. San Francisco-London 1990, no. 93 *** PLOIER, HELMUT, Gewebte Poesie. Frühe anatolische Kelims. Sammlung Konzett. Graz 1991, no. 75

    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims and other Flatweaves from Anatolia. (Text by Udo Hirsch) Munich 1997, no. 21

  • Niche Kilim Fragment

    Add to wishlist
    • Lot171
    • OriginCentral Anatolia, Cappadocia
    • Dimensions359 x 145 cm
    • Age18th century
    • Estimate EUR6,000 - 7,500
    VOK Collection, Anatolia 22

    The impressive effect of this fragmented kilim with a double niche design derives from the powerful bold shapes woven in clear and brilliant colours. Arranged separately on the white ground, the double niches each contain two diamonds placed side by side, divided horizontally and drawn with lateral parmakli outlines; further parmakli devices decorate the flat arches. The polychrome dividing bands interspersed between the niches are incised like combs at both ends. – The surviving fragments consist of one long section (216 cm) showing six design segments and one shorter section (81 cm) showing two design segments. A comparison with similar, completely preserved niche kilims suggests that this item is missing three niches. Should this assumption be correct, the yellow-ground niche would have originally constituted the centre of the composition, and would have stood out on account of its colour appearing only once in the design sequence. The way in which the item has now been secured to a canvas backing constitutes an attempt at reconstructing the original length. The illustration in "Anatolia" still shows an older montage with a distinctly shorter gap. We have used reproduction techniques to alter our image accordingly to avoid deviation from the Vok publication. – In April 1997, the Institute for Particle Physics of ETH Zurich conducted AMS radiocarbon dating. The time span determined was AD 1639 - 1824 (74 %), resulting in an age of 205 years +/- 50 years. This analysis confirms the assumption of an 18th century date for this kilim based on stylistic criteria.

    COOTNER, CATHRYN & MUSE, GARRY, Anatolian Kilims. The Caroline & H. McCoy Jones Collection. San Francisco-London 1990, pl. 100 *** KELIM-CONNECTION AACHEN (publ.), Kelim: Textile Kunst aus Anatolien. Aachen 2002, pl. 51

    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims and other Flatweaves from Anatolia. (Text by Udo Hirsch) Munich 1997, no. 22 *** RAGETH, JÜRG (ed.), Anatolian Kilims & Radiocarbon Dating. A New Approach to Dating Anatolian Kilims. Riehen 1999, no. 21

  • Avar Kilim

    Add to wishlist
    • Lot172
    • OriginNorth East Caucasus, Daghestan
    • Dimensions243 x 151 cm
    • Agelate 19th century
    • Estimate EUR3,000 - 3,700
    VOK Collection, Caucasus – Persia 9

    Nomadic Avar tribes advanced into the North East Caucasus as far back as the early Middle Ages, settling in the mountainous region of Daghestan. Living in remote villages, they were able to preserve their traditional culture for many centuries. They appear to have chiefly woven kilims for their own use, a large number of which has survived. Pile rugs are encountered far more rarely. The characteristic features of Avar kilims are a long and narrow format, a palette of dark shades, a harsh geometric design style and a specific weaving technique using lazy lines and some weft interlocking. – The rare design of this Avar kilim is striking. The blue ground of the field is covered in an endless repeat of large, stylised diamond-shaped elibelinde motifs in light red, black-brown, earth brown, yellow, aubergine and green, arranged in offset rows. Four of the motifs seen in the lower section of the field are hatched horizontally. The route by which the elibelinde motif – a typically Anatolian design – found its way to the Caucasus is unknown. The narrow dark brown border contains a serrated band of offset merging triangles with red outlines. Their aggressive shapes constitute an impenetrable protective fence to ward off sinister outside influences. An immediate comparative piece has not been published, but there are obvious similarities to one of the kilims in the Burns Collection. – Minor rewoven sections, good overall condition.

    BURNS, JAMES D., The Caucasus. Traditions in Weaving. Seattle 1987, ill. p. 44

    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim and other Flatweaves. (Text by Hamid Sadighi) Munich 1996, no. 9

  • Kütahya Kilim

    Add to wishlist
    • Lot173
    • Originwestern Central Anatolia
    • Dimensions373 x 152 cm
    • Agelate 19th century
    • Estimate EUR1,800 - 2,300
    VOK Collection, Anatolia 48

    This large, single-panel kilim woven in just two colours in an archaically simple design is from the Yerli village of Inköy in the Kütahya region. In 1997 Hirsch was aware of three examples of this type which he had seen locally. Among the Turkish villagers, such weavings were known as "bulgur kilims" because the kilims were used to dry boiled wheat (bulgur in Turkish) and prepare it for winter storage. In the sand-coloured field, ten earth-brown parmakli figures without interior drawing are arranged in two parallel rows. There are no additional designs. The earth-brown border is a simple surround of triangles linked to form a serrated band. – Signs of age and wear, several missing sections, damaged sides and several stains, reduced lower end. Mounted onto canvas.

    MELLAART, JAMES & HIRSCH, UDO & BALPINAR, BELKIS, The Goddess from Anatolia. Adenau 1989, vol. 1, pl. VII, p. 32 *** VOK, IGNAZIO, Vok Collection. Anatolia. Kilims and other Flatweaves from Anatolia. (Text by Udo Hirsch) Munich 1997, no. 48

  • Luri or Qashqa’i Kilim

    Add to wishlist
    • Lot174
    • OriginSouth West Persia, Fars province
    • Dimensions265 x 200 cm
    • Ageearly 20th century
    • Estimate EUR3,500 - 4,500
    VOK Collection, Caucasus – Persia 107

    This highly unusual kilim composed of two panels defies attribution to any of the usual categories. Lacking any comparative examples in literature, it may be a one-off. The effect of the abstract design derives entirely from the sharp contrast between the large, red and white plain colour sections. Except for five small white designs which seem to have been randomly scattered in the left-hand panel and an even smaller single motif on the right, the blood-red field with distinct abrash in several places is empty. It radiates an almost overwhelming energy which is somehow contained by the white surround, but breaks through at the top left. – A provenance in Fars province appears certain on account of the design bands containing brocaded "domino" motifs at both ends as well as the style of the stepped outlines separating the field and border. Attribution to a particular tribe is difficult. The kilim is assumed to be either a Luri or a Qashqa’i weaving. Two-panel kilims are rare exceptions in Fars. The design of the two halves does not match exactly, suggesting that the weaver was faced with an unfamiliar task. The slight orange discolouration seen in two of the white sections is due to the use of orange warps at the centre of the kilim. – Signs of age and wear, minimal damage to the ends, otherwise in good condition.

    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim and other Flatweaves. (Text by Hamid Sadighi) Munich 1996, no. 107 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, pl. 154 *** SADIGHI NEIRIZ, HAMID & HAWKES, KARIN, Kelims und andere Flachgewebe aus der Sammlung Neiriz. Calbe, undated (2014), no. 153

  • Karaman Prayer Kilim

    Add to wishlist
    • Lot175
    • Originsouthern Central Anatolia
    • Dimensions162 x 108 cm
    • Agemid 19th century
    • Estimate EUR1,500 - 2,000
    VOK Collection, Anatolia 9

    There is evidence of human settlements in the Karaman region dating back as far as the Mesolithic Age, beginning ca. 8000 BC. Kilims have probably been woven in the area for a long time. According to Hirsch, this niche design kilim served as a wall hanging, so this is not a prayer rug. Within its triple surround, the red mihrab beneath the roof-like arch has four serrated diamonds stacked vertically along the central axis. Accompanied by small white double arrow motifs, they draw the ascending movement upwards almost like a slipstream. Another large open-topped design is placed above the apex of the arch and cut by the horizontal border. The border consists of opposing house-like shapes in diverse colours with hatched outlines, separated by a white serrated band. Further hatching is seen along the inner side of the blue mihrab surround. The small kilim radiates vigour and energy; its composition appears compact, and the colours are of high quality. We feel that Hirsch’s date, "about 1900", is too conservative. – Original sides, both ends reduced, otherwise in good condition. Mounted onto canvas.

    HULL, ALASTAIR & LUCZYC-WYHOWSKA, JOSE, Kilim. The Complete Guide. London 1993, no. 323

    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims and other Flatweaves from Anatolia. (Text by Udo Hirsch) Munich 1997, no. 9

  • Pskent Suzani

    Add to wishlist
    • Lot176
    • OriginCentral Asia, North East Uzbekistan
    • Dimensions270 x 238 cm
    • Agemid 19th century
    • Estimate EUR15,000 - 18,000
    VOK Collection, Suzani 1, 3

    Composed of seven panels, this nearly square suzani was made in Pskent, a city in north eastern Uzbekistan that once belonged to the Emirate of Kokand. The embroideries produced there are Uzbek pieces. The perfectly drawn, large-scale design and the intensely luminous colours make this one of the most outstanding Pskent examples we know. The only immediately comparable piece is another gold-ground example formerly owned by the Textile Gallery, London. – The ground is completely embroidered in the basma technique. Characteristic of the provenance, the design is known as "oi paliak" (moon sky) and probably carries astrological significance. The moon, sun and stars illuminate an imaginary firmament. In this item, six huge, purple-red circular blossoms are arranged discretely, i.e. without points of contact, on a golden yellow ground embellished with delicately drawn carnations, tulips, anemones and small botehs. Sickle-shaped petrol leaves are interspersed between them. Eight smaller purple-red circular blossoms without any interior drawing and four analogous blossoms shaped to fit their purpose as corner motifs constitute a secondary design. Various details are embroidered in vermilion wool yarn. Thin diagonal twigs are widely spaced in the narrow border which is embroidered in just three dark colours and thus very inconspicuous. – Minimal signs of age, very good overall condition. Backed with a white cotton fabric.

    THE TEXTILE GALLERY, Suni. Embroidered Flowers of Central Asia – The Textile Art of Uzbekistan. Internet Catalogue of the Textile Gallery. London 1997, no. 50 *** GRUBE, ERNST J., Keshte. Central Asian Embroideries. The Marshall and Marilyn R. Wolf Collection. New York 2003, no. 28

    VOK, IGNAZIO, Vok Collection. Suzani. A Textile Art from Central Asia. (Text by Jakob Taube) Munich 1994, no. 3