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VOK COLLECTION, Selection III

Saturday 25. March 2017 at 3 p.m.

94 Lots
  • Qashqa’i Kilim

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    • Lot197
    • OriginSouth West Persia, Fars province
    • Dimensions318 x 150 cm
    • AgeLate 19th century
    • Estimate EUR4,000 - 5,000
    VOK Collection: Caucasus – Persia 103

    In this unusually large Qashqa’i kilim, the powerful impact of the geometric composition and the harmonious colours create an impressive effect. Sadighi attributes it to the Darreh Shuri tribe and assumes that it was made for a Qashqa’i khan in his own workshop, which would explain the high quality of the materials and perfect craftsmanship. Three red diamonds joined at their vertical tips are aligned on the central axis of the sea-green field. Each of the three large devices encloses a smaller central diamond with stepped outlines and accentuated corners. The two central motifs at the top and bottom are each embellished with four white diamonds placed on a brown ground, while the central motif between them – the focal point of the composition as a whole – differs in ornamentation, presenting stepped polygons in a concentric arrangement on a white ground. The inner three diamonds are surrounded by rings of stepped polygons which follow their shape like an echo. The four corners of the field are emphasised by plain yellow or brown triangles. Four diamond halves composed of wide concentric colour bands protrude into the field from the lateral sides, creating a wave-like movement in the composition. – Original finishes all around, small restored areas, very good overall condition.

    Published:
    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 103 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, Tf. 142

  • Mazandaran Kilim

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    • Lot198
    • OriginNorth West Persia, Mazandaran province
    • Dimensions405 x 142 cm
    • AgeLate 19th century
    • Estimate EUR3,000 - 3,700
    VOK Collection: Caucasus – Persia 40

    Very finely woven, this kilim with a horizontal stripe design in diverse, fresh and brilliant colours is composed of two long panels. Narrow brocaded horizontal stripes containing miniature motifs separate the multi-coloured bands of the basic design, accentuating the simple abstract composition which derives its rhythm from twelve white-ground stripes. This kilim type was always woven without vertical borders. A dense accumulation of very narrow horizontal stripes defines the ends as elems. - Tanavoli published this kilim in his monograph, "Shahsavan" in 1985, describing it as a weaving from the Moghan region. Sadighi contradicted his attribution in the 1996 Vok publication, considering the piece to be a weaving from Luristan. Stanzer published two very similar examples in "Kordi", surmising that they were made by Khorasan Kurds; slightly uncertain, however, he made reference to related kilims from the North Persian Mazandaran region. The group of Mazandaran kilims was discovered at a late stage and has since caused quite a stir. Having gathered further information, Tanavoli then revised his previous attribution, stating the province of Mazandaran as the provenance of the kilim in a 2002 publication. – Good condition.

    Literature:
    STANZER, WILFRIED, Kordi. Leben. Knüpfen. Weben der Kurden Khorasans. Kollektion Adil Besim. Wien 1988, S. 141 und 143

    Published:
    TANAVOLI, PARVIZ, Shahsavan. Flachgewebe aus dem Iran. Herford 1985, Nr. 21 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 40 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, Tf. 100

  • Isparta Kilim

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    • Lot199
    • OriginWest Anatolia
    • Dimensions320 x 140 cm
    • AgeSecond half 19th century
    • Estimate EUR3,000 - 3,800
    VOK Collection: Anatolia 30

    Kilims presenting designs of horizontal stripes were woven in many regions of West and Central Anatolia (various examples in Tomm, see below). They were everyday textiles used for a variety of purposes, for instance, as Hirsch writes in his discussion of the Vok kilim A 30, ".. as a floor rug, curtain, blanket, or as a wrapping for clothes, tools, or bedding..". This two-panel kilim from Isparta, a province in the western Taurus Mountains, displays a field design of white bands containing hexagons and double hooks linked by a horizontal pole, with undecorated dividing stripes in diverse colours interspersed between them. A wide plain red stripe interrupts the regular sequence at the centre of the field, dividing it into two halves. The kilim terminates in white-ground elems of four large hexagons each. – The illustration in Frauenknecht shows the two separate halves, reversed left to right and still in their unrestored condition. Missing sections have now been rewoven. Mounted onto canvas.

    Literature:
    TOMM, ARWED, Streifenkelim. Aachen 2005, Nrn. 16 - 31

    Published:
    FRAUENKNECHT, BERTRAM, Frühe türkische Tapisserien. Nürnberg 1984, Tf. 4 *** VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 30

  • Sivrihisar Niche Kilim

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    • Lot200
    • OriginCentral Anatolia, Eskisehir province
    • Dimensions185 x 125 cm
    • AgeFirst half 19th century
    • Estimate EUR6,000 - 7,000
    VOK Collection: Anatolia 14

    This Central Anatolian kilim was published by Herrmann in 1984 and attributed to the Konya region, but according to Hirsch it is from the surroundings of Sivrihisar, a town in the province of Eskisehir on the main road from Ankara to Eskisehir. Its large-scale motifs, design of balanced proportions and gorgeous colours make it one of the most beautiful niche kilims we know. The composition is dominated by the large diamond decorated with six hooks which crowns the steeply pointed arch above the apricot mihrab. Its powerful, sprawling double hooks with stepped outlines in green, white and red fill most of the aubergine-ground upper section of the field. Beneath the arch we see three hexagons, segmented into blue and black-brown sections decorated with six white and red crosses and, below these, a design of two rows of stepped polygons and double arrow motifs. The wide white-ground border shows two cartouches very different in size and shape, which combine with the ground to form reciprocal designs. Its interlocked “zip fastener” type outlines are particularly striking. Originally included for technical reasons, they have now become a stylistic feature of the group and also appear, although less prominently, in other Central Anatolian niche kilims of the Vok Collection (A 9 – A 13). A niche kilim published by Bausback displays the same border design. – Minor repairs, very good overall condition.

    Literature:
    BAUSBACK, PETER, Alte und antike orientalische Flachgewebe. Mannheim 1982, Tf. S. 29

    Published:
    HERRMANN, EBERHART, Seltene Orientteppiche VI. München 1984, Nr. 2 *** VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 14

  • Saf Kilim Fragment

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    • Lot201
    • OriginSouth East Europe, Bulgaria
    • Dimensions266 x 100 cm
    • AgeMid 19th century
    • Estimate EUR1,000 - 1,300
    VOK Collection: Anatolia 15

    The two-tier multiple prayer kilim (saf) to which this fragment originally belonged was a very large example containing at least six and possibly more niches per row. The surviving section constitutes the left-hand end consisting of two niche compartments surrounded by a border. The kilim was woven in north western Bulgaria, probably the mountainous region between Sarkoy and Ciprovzi on the Serbian border rather than the neighbouring coastal region of Thrace further south. At the time the kilim was woven – around the mid 19th century – modern-day Bulgaria was still called “Rumelia” and belonged to the Ottoman Empire (until 1879). The indigenous population produced kilims of this kind for home use as floor coverings or wall hangings and for sale. Several large-format kilims have survived in the region’s monasteries, and it is conceivable that they were woven in local monastery workshops. Other multiple prayer rugs from the same group were found in Turkish mosques. Due to their specific repertoire of designs and motifs, their distinctive palette and their tapestry weaving technique using eccentric wefts for rounded motifs, the kilims constitute an independent group. Similar to the two comparative examples listed below, the niche compartments of this item are woven in changing shades of delicate blue, green and turquoise and decorated with small, loosely arranged red-brown diamonds. The straight-lined arches of the house-like niches are each crowned with a yellow double hook tipped with a diamond. Offset rows of closely spaced sand-yellow triangles fill the blue ground outside the niches like a design of scales. The red-brown border contains serrated designs reminiscent of Anatolian kilims. – Slight signs of age and wear, mounted onto canvas.

    Literature:
    HALI 36, 1987, S. 37 (Adv. Eskenazi) *** HALI 39, 1988, S. 41 (Adv. Orientteppich Boutique)

    Published:
    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 15

  • Azeri Shadda

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    • Lot202
    • OriginSouth Caucasus, Azerbaijan
    • Dimensions239 x 173 cm
    • AgeLate 19th century
    • Estimate EUR3,000 - 3,800
    VOK Collection: Caucasus – Persia 79

    This large single-panel cover is plainwoven on polychrome warps which have been tied off into long ornamental braids at both ends. The slit tapestry technique has only been used for the reciprocal trefoils. The three sections of the field design are woven in the warp colours, i.e. blue, red and green. The open red field is framed by two wide, plain dark blue lateral panels, and a sea-green vertical panel with mottled red and green sections has been placed at its centre. The three sections are interlocked by bold reciprocal trefoils, the only graphic element in this flatweave of poster-like appearance. The two elems of narrow horizontal stripes, with subtle brocaded dividing lines, show an additional colour, a sand yellow that clearly differentiates them from the field. In line with tradition, such covers were used as sofrehs (eating cloths). Various comparative examples have been published. We can see that the design often had small embroidered supplementary designs, adding a folkloristic touch. The omission of these supplementary designs in CP 79 underlines its decidedly minimalist effect. – Several small stains, good overall condition, the original finishes are intact all around.

    Literature:
    RIPPON BOSWELL, Auktion 41, 12. November 1994, Lot 107 und Auktion 43, 18. November 1995, Lot 13 *** AMPE, PATRICK & RIE, Textile Art. A personal choice (Kailash Gallery). Antwerpen 1994, Nr. 26 *** KIRDÖK, MUAMMER, Antike Teppiche, Kelims, Textilien. Katalog Frühjahr '95. Wien 1995, K2593, S. 47 *** TKF-WIEN (Hrsg.), Antike Orientteppiche aus österreichischem Besitz. Wien 1986, Nr. 79

    Published:
    HALI 62, April 1992, S. 21 (Adv. Loveless) *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 79

  • Shahsavan Jajim

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    • Lot203
    • OriginNorth West Persia, Hashtrud region
    • Dimensions315 x 231 cm
    • AgeLate 19th century
    • Estimate EUR2,500 - 3,000
    VOK Collection: Caucasus – Persia 72

    Finely woven in the warp-faced plainweave technique, this large jajim in brilliant colours is composed of six long panels. Today it is impossible to establish the precise Shahsavan tribal group who produced the jajim. It was probably made in the North West Persian Hashtrud region although a provenance in the Moghan region is also conceivable. During the 19th century, nomads still regularly went on their annual migrations, then unconstrained by modern national borders. This is why exact regional attributions are often difficult. – As is usual in jajims, the design consists of vertical stripes in diverse colours, here embroidered in horizontal rows of small flowering shrubs at regular intervals. A horizontal border of serrated diamonds has been suggested at each end and a row of four-legged animals placed immediately above it. Jajims woven in this large format served as animal trappings during wedding ceremonies. – Signs of age and wear, minor holes, stains.

    Literature:
    TANAVOLI, PARVIZ, Shahsavan. Flachgewebe aus dem Iran. Herford 1985, Nr. 279 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, Tf. 249

    Published:
    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 72

  • Ferghana Suzani Door Surround

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    • Lot204
    • OriginCentral Asia, North East Uzbekistan, Khanate of Ko
    • Dimensions262 x 213 cm
    • AgeCa. 1800 – 1825
    • Estimate EUR14,000 - 17,000
    VOK Collection: Suzani 2, 64

    Probably from the Ferghana valley north east of Ura Tube, this suzani is a decorative surround made to measure for a rectangular doorway and definitely not a ruijo. The original inner selvedges prove that the central section was never filled with fabric. In the suzani catalogue published by Bausback, Besch writes that the richly carved doors of houses in Uzbekistan would often be framed by suzanis. – This embroidery is a particularly splendid example with a large proportion of pale green vines, leaves and blossoms which create a bright and vibrant effect. Red flowers in varying shapes and sizes have been incorporated everywhere. The elaborate design is embroidered in the basma and kanda khayol techniques. The vertical panels and upper horizontal panel contain a continuous design of the same oval compartments, with a cruciform flower placed at the points of intersection. An iris attached to a curved stem marks the centre of each oval. The complex composition appears lively and full of movement. Similar to other published examples, the border at the lower end seems to run into empty space. It is impossible to establish whether the panels were longer at the bottom due to the suzani having been mounted onto canvas. – Various missing sections in the foundation have been backed with fabric. Good overall condition.

    Literature:
    GRUBE, ERNST J., Keshte. Central Asian Embroideries. New York 2003, Nr. 23 *** BAUSBACK, PETER, Susani. Stickereien aus Mittelasien. Mannheim 1981, Tf. S. 54 *** RIPPON BOSWELL, A 84, 31. Mai 2014, Lot 43

    Published:
    VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 64

    • Lot205
    • OriginCentral Asia, East Uzbekistan
    • Dimensions222 x 178 cm
    • AgeCa. 1800
    • Estimate EUR20,000 - 24,000
    VOK Collection: Suzani 2, 68

    Regional attribution of this extremely rare suzani is difficult due to the absence of any comparative examples. The small-format field design is drawn in a naturalistic style. Long thin stems almost crowded with magnificent flowers surround one another or run into opposite directions, creating a dense hermetic network. A large flowering tree in an oval surround stands out at the bottom centre. A rounded shape has been placed at its tip, and two large feathered palmettes are seen at the sides. Two double rows of circles, each enclosing three parallel green stems, are arranged along both ends of the field like border panels. The birds and small fish incorporated into the design in various places are so unobtrusive that they are only discovered after a prolonged search. We believe that this elegant court piece was made in the region between Samarkand and Ura Tube, an assumption supported by the light colours. – Good condition. Mounted onto canvas.

    Published:
    VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 68

  • Sehna Kilim

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    • Lot206
    • OriginNorth West Persia, Kurdistan
    • Dimensions155 x 131 cm
    • AgeFirst half 19th century
    • Estimate EUR6,000 - 8,000
    VOK Collection: Caucasus – Persia 68

    The description of CP 67 mentions that there are two groups of Sehna kilims which differ in style. The example CP 68, woven in a strikingly wide format, belongs to the second group with designs of a more floral nature. The field below the flat arch without an accentuated tip is entirely filled with vertical stripes of varying widths and colours; their border-like floral vines are obviously influenced by older fabric designs from Kerman. The wide design bands with an ivory or saffron ground are each interspersed with three dividing stripes in beige, dark blue and red. The dark blue section above the arch contains large rounded botehs, closely spaced in offset rows. Arrangements of this kind are comparatively rare (see the examples in Herrmann and Burns); usually they are reversed, with botehs in the field and vertical stripes above the arch. As is common in this type, the main border consists of thin diagonal stripes in red and white. – Signs of age and wear, many stitched areas and minor rewoven sections.

    Literature:
    HERRMANN, EBERHART, Von Konya bis Kokand. Seltene Orientteppiche III. München 1980, Nr. 77 *** BURNS, JAMES D., Antique Rugs of Kurdistan. A Historical Legacy of Woven Art. London 2002, Nr. 39 *** RIPPON BOWELL, Auktion 38, 15. Mai 1993, Lot 113

    Published:
    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 58