VOK COLLECTION, Selection III
Saturday 25. March 2017 at 3 p.m.
Karapinar KilimAdd to wishlist
VOK Collection: Anatolia 73
- Central Anatolia, Konya region
- 380 x 175 cm
- Ca. 1800
- 7,000 - 9,000
According to Hirsch, this two-panel kilim was woven for ritual purposes by a Yürük group in Karapinar. It displays three huge "spider" güls which take up almost the entire surface of the white field. The narrow lateral border – an elongated brown wavy line placed on a purple or sand-yellow ground – barely stands out, and the two elems of octagons and comb shapes are unusually narrow. The primary motif is a large set of nested hexagons decorated with arms and enormous hooks which, in this case, extend as far as the sides of the field. In literature it is either described as an indigenous design of the Hotamis Turkmen or associated with the Aydinli tribes who originally inhabited western Anatolia. Several Aydinli groups later emigrated to Central Anatolia. This kilim type has often been published. Only a very few examples are as powerful in appearance as the Vok kilim, an effect partially due to the strong unfaded colours. – Small restored areas, very good overall condition. Mounted onto canvas.
PETSOPOULOS, YANNI, Der Kelim. Ein Handbuch. München 1980, Nr. 143 und 144 *** ESKENAZI, JOHNNY (Hrsg.), Kilim anatolici. Mailand 1984, Nr. 7 *** ESKENAZI, JOHN & VALCARENGHI, DARIO, Kilim anatolici. Mailand 1985, Nr. 38 *** BALPINAR, BELKIS & HIRSCH, UDO, Flachgewebe des Vakiflar-Museums Istanbul. Wesel 1982, Tf. 37
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 73
Cappadocian KilimAdd to wishlist
VOK Collection: Anatolia 23
- Central Anatolia
- 476 x 161 cm
- Ca. 1800
- 7,000 - 8,500
The enchanting feature of this long single-panel kilim from a village in the north eastern region of Cappadocia is its exceptionally rich variety of colours. It belongs to the group of striped kilims woven without borders. The field design consists of 21 horizontal bands in different and constantly changing ground colours, each containing a bar of a different colour ending in long “finger” outlines at both sides. A comb motif placed at the centre of each band is woven in a third colour, and all the outlines are finely traced in a fourth colour. The composition is strictly symmetrical and conceived in mirror image; the combs are placed exactly on the vertical central axis. The bands are separated by delicate brown stripes showing white embroidered miniature motifs. The basic idea of the composition may be inspired by double niche kilims, although the niches can be barely made out. – Several missing sections, mounted onto canvas.
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 23
Aksaray KilimAdd to wishlist
VOK Collection: Anatolia 69
- Central Anatolia, Cappadocia
- 393 x 172 cm
- Early 19th century
- 7,000 - 9,000
Three closely spaced devices composed of steeply diagonal, long red-and-white hooks fill the dark brown field almost completely. The ends of the hooks curl inwards, and their white sections are largely woven in cotton to create highlights in the design. The central design is larger in size, emphasising its position as the focus of the composition. A wide blue border of abstract birds surrounds the field on three sides, but is cut at the top by the horizontal stripes of the three-panel elem. – Herrmann first published the kilim in 1987 and interpreted the striking device as a stylised animal-tree design. Three further kilims showing the same primary motif are cited below. The example published by Eskenazi is described as a Karapinar. Hirsch assumes that the Vok kilim A 69 originates from the surroundings of Aksaray, writing that it was originally used as a cover or wall hanging. – Several rewoven sections, partially replaced side finishes.
ESKENAZI, JOHNNY (Hrsg.), Kilim anatolici. Mailand 1984, Tf. 12 *** COOTNER, CATHRYN & MUSE, GARRY, Anatolian Kilims. The Caroline & H. McCoy Jones Collection. San Francisco-London 1990, Tf. 51 *** BAUSBACK, PETER, Kelim. Antike orientalische Flachgewebe. Mannheim & München 1983, Tf. 16
HERRMANN, EBERHART, Seltene Orientteppiche IX. München 1987, Nr. 21 *** VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 69
VOK Collection: Caucasus – Persia 90
- South West Persia, Fars province
- 253 x 142 cm
- Second half 19th century
- 4,000 - 5,000
The appearance of this fascinating kilim is defined by the dual effect of red and yellow. Two huge red diamonds dominate the sand yellow field. Their tips extend to the sides of the field, and the two large shapes merge along the central axis. A diamond quartered by colour change and outlined in green has been placed at the centre of each large diamond and surrounded by eight widely spaced, smaller diamonds similarly quartered by colour change. Four analogous motifs are arranged in each of the lateral spaces next to the main design, and box shapes quartered into green and red sections adorn the corners. Except for the straight-sided corner motifs, all the other designs have finely stepped outlines, including the boundary lines of the narrow main border and its reciprocal triangles. This creates an impression of particular precision in the drawing. A border of reciprocal trefoils in blue and white provides the outer finish. - Sadighi considers the kilim a weaving by the Kashkuli tribe, interpreting the design as an expression of prehistoric lunar symbolism. – Several major stains, slight signs of age and wear, otherwise good condition. Original finishes all around, the braided warps are preserved at both ends.
VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 90 *** SADIGHI NEIRIZ, HAMID & HAWKES, KARIN, Kelims und andere Flachgewebe aus der Sammlung Neiriz. Calbe o. J. (2014), Nr. 127
VOK Collection: Caucasus – Persia 92
- South West Persia, Fars province
- 266 x 144 cm
- Late 19th century
- 3,500 - 4,500
The white field of this Qashqa’i kilim displays a spaciously conceived repeat of stepped polygons. Loosely arranged in offset rows, their distribution of colour does not follow a fixed concept. At the upper end, the ascending movement of the field design is arrested by a horizontal bar of narrow colour bands. The special feature of the kilim is its chequerboard main border of two rows of square compartments in green, blue and red, a composition otherwise only encountered as a field design (see CP 97 and CP 98). The continuation of the white ground colour creates an impression of the wide border being simply superimposed. Three different types of weave have been used: the slit tapestry technique for the stepped shapes of the polygons and the serrated outer line of the border; the single weft interlocking technique for the straight sides of the chequerboard compartments; and the brocading technique for the two "domino" bands in the horizontal stripe design of the kilim finishes at both ends. – Slight signs of age and wear, several stains and repaired areas.
VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 92 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, Tf. 148
Kuba KilimAdd to wishlist
VOK Collection: Caucasus – Persia 13
- East Caucasus
- 331 x 177 cm
- Third quarter 19th century
- 2,500 - 3,000
This Kuba kilim belongs to the same group as the red-ground kilim CP 12, but its single-row composition is different and less common. Three huge shield-shaped cartouches are aligned vertically on the dark blue ground of the field, extending across its entire length, their triangular tips touching. Sets of two diamonds, each decorated with four double hooks, have been inserted into the spaces not covered by the primary design. The three cartouches are flanked by large double hook motifs (probably abstract animals) on both sides. The dominant spider motif radiating from a central diamond in each of the cartouches, with long blue arms ending in hooks and a vertical pole accentuated by white serrated outlines, is a characteristic feature of this group of Kuba kilims. The extra-wide red-ground border contains powerful designs composed of stylised palmettes and diamonds. – A comparison with other examples in the group shows that the cartouches usually occur in compositions of two or three rows. Since there is little variation in format, the primary ornaments diminish in size as their number increases. In CP 13, the monumental size of the three cartouches is a prominent feature. – Slight signs of age and wear, especially at the long sides; one inserted section in the main border. Good overall condition.
PETSOPOULOS, YANNI, Der Kelim. Ein Handbuch. München 1980, Nr. 297 *** BLACK, DAVID & LOVELESS, CLIVE, The Undiscovered Kilim. London 1977, Tf. 34 *** HASSON, RACHEL, Caucasian Rugs. L.A. Mayer Memorial Institute for Islamic Studies. Jerusalem 1986, Nr. 49 *** BAUSBACK, PETER, Kelim. Antike orientalische Flachgewebe. Mannheim & München 1983, Tf. 97 *** RIPPON BOSWELL, Auktion FFM 24, 15. November 1986, # 144 *** HOUSEGO, JENNY, Nomaden-Teppiche. Eine Einführung in die Web- und Knüpfkunst der Stämme des Iran. Herford 1984, Nr. 19 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 12
VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 13
Shakhrisyabz Suzani JoynamozAdd to wishlist
VOK Collection: Suzani 2, 73
- Central Asia, South West Uzbekistan
- 123 x 91 cm
- Ca. 1850 – 1875
- 7,000 - 8,000
This small-format Shakhrisyabz suzani is a prayer mat of the type known as "joynamoz" in Uzbekistan. The design layout – an empty field topped by a gable-shaped arch and wide lateral borders converging above the arch – is similar to the ruijo type. Embroidered prayer rugs were always part of the dowry which the bride brought to the marriage, but only a small number of them are still extant, probably because the fragile textiles did not survive prolonged use. – The tower-shaped inner field of this item is very narrow. The wide border displays four large fan-shaped side-view blossoms alternating with diagonal crosses composed of five blossoms – a circular central blossom and four red or blue side-view blossoms of varying shapes, attached to thin stems and surrounded by green vines. The mihrab tip is crowned with a blue palmette. The blossom segments are embroidered in two different techniques; basma and kanda khayol stitch are used side by side, and in addition several design details are embroidered in red wool yarn. – Completely preserved, including the outermost border at the bottom. Several stains, good overall condition. Mounted onto canvas.
YANAI, YIGAL, Suzani. Central Asian Embroideries. Haaretz Museum, Tel Aviv 1986, Fig. 13 *** DODDS, DENNIS & EILAND, MURRAY L.,JR. (Hrsg.), Oriental Rugs From Atlantic Collections. Philadelphia 1996, Nr. 260 *** RIPPON BOSWELL, Auktionen A 78, 28. Mai 2011, Lot 35 und A 87, 13. Juni 2015, Lot 134 *** GRUBE, ERNST J., Keshte. Chentral Asian Embroideries. The Wolf Collection. New York 2003, Nr. 21 *** TSCHEPELEWEZKAJA, G.L. & SUCHAREWA, O.A., Susani Usbekistans. Ein Beitrag zur Technik, Ornamentik und Symbolik der usbekischen Seidenstickereien. Hamburg 1991, Tf. 21
RIPPON BOSWELL, Auktion A 58, 11. Mai 2002, Lot 66 *** VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 73
Kermina SuzaniAdd to wishlist
VOK Collection: Suzani 2, 58
- Central Asia, South West Uzbekistan
- 178 x 116 cm
- Ca. 1825 – 1850
- 17,000 - 20,000
Kermina was an important centre of suzani production. Situated some 110 kilometres north east of Bokhara on the Zarafshan river, the city housed the summer residence of the emirs of Bokhara. This may explain why Bokhara and Kermina suzanis share many common features in terms of design, palette and embroidery technique. – Finely embroidered in ilmoq chain stitch throughout, elegantly drawn and with an ambiguous composition, this suzani is a masterpiece of Central Asian textile art. We attribute it to Kermina for stylistic reasons. Confusing at a first glance, the repeat in the field consists of two design units repeated regularly and loosely interlocked. The offset arrangement of the design units produces a complex overall picture. Twelve diamonds of different sizes, each enclosing a red circular blossom, are arranged in diagonal bands. They alternate with a second design layer of larger cruciform devices composed of a central red blossom and four surrounding red-and-blue blossoms, also arranged in diagonal rows. Four slender green leaves emanate from the centres of the cruciform floral clusters in lively diagonal curves, adding movement to the overall design. The leaves could also be viewed as outlines of larger diamonds which, combined with the smaller diamonds, allow an alternative reading of the composition in the vertical direction. In the absence of a secondary border, the wide border immediately adjoins the field, its static calm offering a counterpoint to the dynamic movement of the field. The latter contains a diamond lattice of green straight-lined leaves enclosing 21 large red fan-shaped blossoms as the primary motifs, accompanied by smaller blossoms in red and blue. A further example of this rare group was published by Fling. – Very good condition. Mounted onto canvas.
FLING, RUSSELL S., Khans, Nomads & Needlework. Suzanis and Embroideries of Central Asia. Columbus, Ohio 2012, Nr. 7
VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 58
Shahsavan KilimAdd to wishlist
VOK Collection, Caucasus – Persia 58
- North West Persia, Azerbaijan
- 415 x 168 cm
- Mid 19th century
- 1,500 - 2,000
Woven on a cotton warp, this very large and heavy Shahsavan kilim is a village rug, meaning that it was made by a settled tribal group. Directly comparable pieces cannot be found in relevant publications. Five nested stepped diamonds aligned along the central axis of the open red-brown field are linked by blue comb motifs placed in the intervening spaces, combining into one large design. The combs are reminiscent of Anatolian parmakli designs. Sadighi assumes a provenance in the Hashtrud region. However, it also seems possible that the kilim was made by the Bijar Shahsavan of Kurdistan. This is suggested by the style of the colourful diagonal stripe design in the main border. A wide border of reciprocal trefoils provides the outer finish. – Obvious signs of age and wear. Several missing sections in the field, damaged sides. Mounted onto canvas.
VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 58
VOK Collection: Caucasus – Persia 101
- South West Persia, Fars
- 335 x 160 cm
- First half 19th century
- 2,500 - 3,000
At some point this large red-ground Qashqa’i kilim was divided into two halves, now mounted onto canvas and reunited in an attempt at reconstruction. The spaciously conceived design of the field consists of three diamonds aligned along the central axis and flanked by eight crosses arranged in pairs, their ends decorated with stepped polygons. Large sections of the field have been left plain, increasing the effect of the geometric designs. The two white diamonds embellished with stepped polygons at the upper and lower ends are substantially larger than the fragmented green-ground diamond at the centre; its original dimensions can no longer be established. The attempt at reconstruction assumes that the central diamond was smaller than the other two; however, should it have been the same size, the kilim would have been longer than it now appears. The suggested date has been estimated on the basis of stylistic considerations. Generally speaking, kilims displaying compositions as powerful and confident as this item are regarded early examples. This is supported by the high density of the weave and heavily patinated colours. Large-format examples such as this item were made for the tribal khans. Sadighi assumes that the kilim is a Darreh Shuri weaving. – Largely original side and end finishes, many missing sections, signs of wear, stains.
VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 101