Saturday 25. March 2017 at 3 p.m.

94 Lots
  • Large Medallion Suzani

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    • Lot207
    • OriginCentral Asia, South West Uzbekistan, Emirate of Bo
    • Dimensions288 x 187 cm
    • AgePre 1800
    • Estimate EUR35,000 - 40,000
    VOK Collection: Suzani 47

    The Vok Collection comprises two group A suzanis. Very similar in appearance, the two items are documented as A2 and A10 in the monograph, "The Great Embroideries of Bukhara" published by Franses. The suzani A10 was sold at our first Vok auction (11th April 2015, lot 88) and discussed in detail; we refer readers to the respective catalogue entry. In comparison, A2 appears to be even more powerful than A10: it is somewhat larger in size, and the shield-shaped, fully embroidered medallion fills the field almost completely. Unlike A10, where two of the circular blossoms in the field corners contain a multi-pointed star, all four corners of A2 show the same "spoked wheel" motif. – Good condition. Backed with fabric.

    VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 47 *** FRANSES, MICHAEL, The Great Embroideries of Bukhara. London 2000, A2, S. 55 (dort auch alle weiteren Beispiele der Gruppe)

  • Erzurum Niche Kilim

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    • Lot208
    • OriginEast Anatolia
    • Dimensions153 x 129 cm
    • AgeCa. 1800 or earlier
    • Estimate EUR3,000 - 4,000
    VOK Collection: Anatolia 3

    The red field topped by a pointed arch contains a large tree of life with V-shaped branches extending far into the arched section. It is flanked by two slender blue cypress trees. Most of the motifs are woven in a yarn wrapped in fine silver wire. The tree design continues in the section above the arch which displays two red cypress trees and closely spaced, blue and red vertical vines. The lustrous silvery ground is entirely woven in silver-wrapped yarn. This precious material is a feature of the best Erzerum kilims which were probably prestige objects or gifts. Small trees adorn the yellow-ground main border; the outer secondary border contains a vine and carnations. The use of motifs drawn from the repertoire of the Ottoman court design tradition is typical of this group of Erzurum kilims. – Obligatory in the past, the term "prayer rug" is now questioned as an appellation for all rugs and kilims with a niche design. It appears that they usually served as wall hangings. They constituted symbolic show pieces presenting Islamic iconography but were not used in prayer. A closely related Erzurum kilim with a niche and tree-of-life design, formerly in the Ballard Collection, is now in the New York Metropolitan Museum (inv. No. 22.100.59). A further and possibly somewhat later comparative example was published by Brüggemann. – The original selvedges have survived, the ends are somewhat reduced; slight signs of age and wear, minor rewoven sections. Mounted onto canvas.

    DIMAND, MAURICE S. & MAILEY, JEAN, Oriental Rugs in the Metropolitan Museum in New York. New York 1973, S. 250, Nr. 149 *** BRÜGGEMANN, WERNER, Yayla. Form und Farbe in türkischer Textilkunst. Frankfurt 1993, Tf. 35

    FRAUENKNECHT, BERTRAM & FRANTZ, KLAUS, Anatolische Gebetskelims. Nürnberg 1978, Abb. 36 *** VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 3

  • Afyon Kilim

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    • Lot209
    • OriginWestern Central Anatolia, Phrygia
    • Dimensions315 x 150 cm
    • AgeEarly 19th century
    • Estimate EUR3,000 - 3,800
    VOK Collection: Anatolia 33

    The second parmakli kilim offered in this sale is woven in one piece without vertical borders, more finely than A 46 and in superb patinated colours; it is obviously the older example. It represents a rare design type. Four panels separated by five white-ground horizontal stripes decorated with border designs each contain two huge box shapes with deeply incised parmakli outlines and large interior parmakli diamonds. The symmetric composition can be read in both the horizontal and vertical direction. The weaver used constantly changing colour combinations in an attempt to avoid repetition. The reciprocal nature of the designs has created a serrated bar on the central axis. – Hirsch was unable to determine the village of origin for this kilim, exhibited in Basel in 1990. He points out that no directly comparable examples were known in 1997. – Signs of age and wear, various missing sections. Mounted onto canvas.

    MELLAART, JAMES & HIRSCH, UDO & BALPINAR, BELKIS, The Goddess from Anatolia. Adenau 1989, Vol. I, S. 30, Abb. 6 *** RAGETH, JÜRG (Hrsg.), Frühe Formen & Farben. Gewebe aus Anatolien. Symposium Basel. Die Ausstellung. Riehen 1991, Nr. 21 *** VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 33

    • Lot210
    • OriginEast Caucasus, Kuba or Daghestan
    • Dimensions340 x 230 cm
    • AgeMid 19th century
    • Estimate EUR17,000 - 20,000
    VOK Collection: Caucasus – Persia 32

    Published by Herrmann as early as 1986 and comprehensively discussed in the book on his exhibition, this large sumakh in splendid colours was produced in one of the specialised workshops of the Kuba or Daghestan region and appears to be a one-off. Immediately comparable pieces are not found in publications. – Two wide red-ground design bars, each containing nine Lesghi stars, pairs of Talish rosettes and many small designs, take up almost the entire length of the deep blue field. They are separated by a vertical band of serrated diamonds and offset diamond halves. At both ends, they seamlessly merge into the panels surrounding the field which are densely filled with a border design of geometric, stylised animal-tree motifs and serrated diamonds. The ambivalence of this unusual composition is striking: does the sumakh have a red ground, with extra-wide borders dividing the field into two halves, or has a blue field decorated in a border design been overlaid by two bold red design bars? The latter reading is supported by the fact that the white border containing a double vine of stylised birds never occurs as a secondary border design, hence it is the main border of the rug. – Sumakhs presenting Lesghi stars are comparatively rare. The comparisons cited (see below) show sumakhs in which the same primary motif has been used in a different layout – a simple row placed along the central axis. – Partially corroded brown sections, several restored areas, good overall condition.

    McMULLAN, JOSEPH V., Islamic Carpets. New York 1965, Nr. 56 *** BORALEVI, ALBERTO, Sumakh. Flat-Woven carpets of the Caucasus. Florenz 1986, Nr. 25 *** ENDERLEIN, VOLKMAR, Orientalische Kelims. Flachgewebe aus Anatolien, dem Iran und dem Kaukasus. Wesel 1986, Nr. 40 *** RIPPON BOSWELL, Auktion 43, 18. November 1995, Lot 64

    HERRMANN, EBERHART, Seltene Orientteppiche VIII. München 1986, Nr. 50 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 32

  • Bokhara Nim Suzani

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    • Lot211
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions160 x 110 cm
    • AgeCa. 1800 – 1825
    • Estimate EUR10,000 - 12,000
    VOK Collection: Suzani 2, 60

    This small nim suzani from the surroundings of Bokhara appears to be very old. Its spacious composition and the specific style of drawing suggest that it is not an urban piece, but was made by one of the tribal groups who settled close to the large centres during the 18th and 19th centuries. In the past, suzanis diverging in style like this item were often attributed to the Lakai, but there is no evidence to support this. The floral design of large fan-shaped blossoms presented in side view throughout appears powerful and confident. In the field, the large blossoms alternately embroidered in purple and ochre constitute huge finials attached to delicately drawn plants with leaves and two light blue or purple bell flowers. The directional ascending design has been incorporated into a diamond lattice of deep green vines with leaves. The style of drawing of the scrolling leaves is reminiscent of Shakhrisyabz embroideries. In the wide main border, twelve fan-shaped blossoms composed of purple and ochre segments are linked by a lively vine of long green leaves. Although larger in size and different in drawing from their counterparts in the field, they correspond exactly in colour, creating a strong sense of cohesion in the composition. – Signs of age and wear; major holes in the foundation have been professionally secured and backed with fabric; mounted onto canvas.

    VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 60

  • Shakhrisyabz Suzani

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    • Lot212
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions226 x 152 cm
    • AgeMid 19th century
    • Estimate EUR10,000 - 13,000
    VOK Collection: Suzani 2, 76

    Embroidered on a deep blue silk foundation, this rare suzani was made in the surroundings of the cities of Shakhrisyabz and Kitab. The extra-wide border and narrow field are decorated with identical designs. Eight large circular flowers, each enclosing a rotating star motif, are surrounded by green vines in the border; the spaces between them contain a dense network of stems bearing voluminous plain- or multi-coloured botehs arranged in pairs and abundantly decorated with small globular fruit (probably berries). The same design elements adorn the field, which has just one circular blossom at its centre. The expressive diversity of the colours and somewhat surrealist style of drawing clearly distinguish this embroidery from the typical pieces of the region and their precisely planned compositions. Unlike the latter, this item has a wild and spontaneous appearance of a more nomadic character. The designs of the two secondary borders are extraordinary – a golden, convoluted chain-like vine in the inner band and short diagonal twigs in the outer band. The style of the motifs is reminiscent of embroideries by the Kungrat tribes. The delicate silk foundation is backed with a cotton fabric to provide stability, and the two layers are joined by the embroidery. - The silk foundation has worn away in several places, leaving the backing fabric visible. Several major missing sections, signs of age and wear. Mounted onto canvas.

    VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 76

    • Lot213
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions175 x 130 cm
    • AgeCa. 1850 – 1875
    • Estimate EUR18,000 - 21,000
    VOK Collection: Suzani 39

    Three slender trees, their trunks undulating slightly rather than running a straight line, form an ascending design full of movement in the field of this suzani. The tree on the right-hand side is appreciably wider than the two trees locking branches on the left and appears to keep its distance from these. Large red heart-shaped flowers hang from short, offset stems curving downward. Smaller stems bear colourful boteh-like buds and miniature blossoms. In the main border, diagonal fan-shaped blossoms presented in side view and smaller pairs of flute-shaped flowers are attached to boldly drawn vines. - Suzanis embroidered in tree designs are found in all the regions of Uzbekistan. This item shows striking stylistic idiosyncrasies that are characteristic of nomad pieces; for instance, the way in which the motifs combine into an overall design is less fluid than in urban suzanis. The composition of prominent individual motifs rather appears to have been assembled from individual components. This is particularly apparent in the border. We believe that the suzani was made in the region between Samarkand and Ura Tube. The foundation is not handwoven, but a very fine machine-woven cotton fabric which, like the red-dyed wool used in several motifs, may have been imported from India. – Slight signs of age and wear, good overall condition. Mounted onto canvas.

    HASSON, RACHEL, Flowering Gardens Along the Silk Road. Embroidered Textiles from Uzbekistan. Jerusalem 2001, Tfn. S. 11 und 17

    HALI 30, 1986, Abb. S. 91 (Galerie Triff) *** VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 39

  • Qashqa’i Kilim

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    • Lot214
    • OriginSouth West Persia, Fars province
    • Dimensions274 x 174 cm
    • AgeSecond half 19th century
    • Estimate EUR1,800 - 2,300
    VOK Collection: Caucasus – Persia 82

    A huge shield form with serrated lateral outlines is woven into a light red field. Lacking any contact with the sides, it seems suspended, appearing like a huge window due to the depth effect created by the colours. The undecorated interior is woven in a vivid range of changing shades of green. The kilim is a typical product of the Darreh Shuri Qashqa’i. The weavers of the tribe had a fondness for combining two complementary colours, red and green, and for abstract compositions using large empty spaces. A reciprocal trefoil border including white cotton sections frames the field to good effect. – Obvious signs of age and wear, various brown stains. A missing section along the lower left-hand side, several small holes, somewhat damaged ends.

    HERRMANN, EBERHART, Asiatische Teppich- und Textilkunst 4. München 1992, Nr. 75

    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 147

  • Tashkent Suzani

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    • Lot215
    • OriginCentral Asia, Uzbekistan, Emirate of Kokand
    • Dimensions240 x 175 cm
    • AgeCa. 1850 – 1875
    • Estimate EUR3,000 - 4,000
    VOK Collection: Suzani 2

    Purple disc-shaped blossoms and short-stemmed pomegranates surrounded by boldly drawn leaf vines take up almost the whole of the field and the wide main border. The spaces not covered by the large motifs are decorated in smaller blossoms, palmettes, amulets and botehs, all in brilliant and diverse colours, in a design so dense that the foundation is barely visible. Tashkent suzanis of this kind are Uzbek pieces. Known as "oi paliak" (moon sky), the highly symbolic design carries astrological meaning. Here it is presented in a four-and-one composition. The huge disc with a green serrated outline at the centre of the field represents the sun. It is encircled by two rings of colourful blossoms and buds as well as an outer surround of eight pomegranates arranged radially. The powerful central design is outlined in a band separating it from the field. Four smaller sun discs lie in the corners of the field. Pomegranates are aligned in the main border, and the two secondary borders contain red poppy blossoms and green diagonal crosses composed of leaves. – Good condition. Mounted onto canvas.

    HASSON, RACHEL, Flowering Gardens Along the Silk Road. Embroidered Textiles from Uzbekistan. Jerusalem 2001, Tf. S. 7 *** BAUSBACK, PETER, Susani. Stickereien aus Mittelasien. Mannheim 1981, Tf. S. 56 *** FLING, RUSSELL S., Khans, Nomads & Needlework. Suzanis and Embroideries of Central Asia. Columbus, Ohio 2012, Nr. 1 *** RIPPON BOSWELL, A 66, 19. November 2005, Lot 122 *** GRUBE, ERNST J., Keshte. Central Asian Embroideries. The Marshall and Marilyn R. Wolf Collection. New York 2003, Nr. 26

    VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 2

  • Aksaray Kilim

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    • Lot216
    • OriginCentral Anatolia
    • Dimensions436 x 170 cm
    • AgeSecond half 19th century
    • Estimate EUR6,000 - 7,500
    VOK Collection: Anatolia 64

    The white field and wide brown-ground elems show a design of nested diamonds equal in size throughout, but different in colour, with long lateral parmakli outlines creating a shaded appearance. A plain red-brown border of stepped arches (sides) and triangles (ends) surrounds the entire kilim, including the end panels which are separated from the field horizontally by an outline of stepped diamonds. In surface designs using repetition, compositional relationships are frequently produced by the distribution of colours. In this rug, the diamonds are arranged into concentric gables, their tips pointing towards the centre from the two ends of the field. Diamonds of a smaller size have been used along the sides of the field where space was insufficient for complete diamonds. The weaver has filled the undecorated lateral sections with small decorative devices or apotropaic symbols. – Several similar kilims have been published and described either as Konya, Karapinar or East Anatolian weavings by their respective authors. Hirsch writes that the Vok kilim A 64 was woven by a Turkmen tribal group in the surroundings of Aksaray and used either as a cover or for wrapping household goods. – Good condition, minor stains.

    HALI 59, 1991, S. 162 (Adv. Andrews) *** FRAUENKNECHT, BERTRAM, Frühe türkische Tapisserien. Nürnberg 1984, Tf. 44 *** PETSOPOULOS, YANNI, 100 Kelims. Meisterwerke aus Anatolien. München 1991, Nrn. 83 und 84

    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 64