VOK COLLECTION, Selection III
Saturday 25. March 2017 at 3 p.m.
Luri KilimAdd to wishlist
VOK Collection: Caucasus – Persia 93
- South West Persia, Fars province
- 260 x 145 cm
- First half 19th century
- 2,000 - 2,500
Heavily patinated and with obvious signs of wear, this kilim woven on a dark brown wool warp appears to be very old. Tanavoli attributes it to the Lurs of the Kohgiluyeh region, and although Sadighi describes the kilim as a Qashqa’i in the Vok publication, he mentions that it was made by Luri weavers. Precise attributions are difficult due to the mutual influences among the tribal groups. The aesthetic quality of these textiles is the primary aspect in terms of collectibility and more important than an exact specification of their provenance, which is often impossible to establish after a long period of time. – Simply conceived, the field design consists of plain diagonal stripes of different widths. The wider stripes decorated with small stepped polygons alternate with sets of three narrower undecorated stripes. The ubiquitous stepped outlines of the design arise from the necessity of avoiding longer slits which would have compromised the stability of the weaving. The geometric style and formal language of slit tapestries are an inevitable result of the weaving technique. The fairly wide finishes at both ends are decorated with narrow horizontal stripes and embellished with an additional three graceful brocaded bands. – Obvious signs of age and wear, stitched tears, old repairs.
VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 93 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, Tf. 151
Sivas KilimAdd to wishlist
VOK Collection: Anatolia 52
- Eastern Central Anatolia, Cappadocia
- 423 x 131 cm
- Ca. 1800
- 3,500 - 4,500
According to Hirsch, this narrow two-panel kilim was made in a Kurdish village near Sivas, so it is from north eastern Cappadocia. Only three examples of this extremely rare type have been published to date. Six rectangular compartments with sand-yellow, red and blue grounds surrounded by wide frames have been placed on a two-tone red-and-blue field, with bands of large reciprocal trefoils inserted between them. Their lateral outlines consist of a triple band resembling a zip fastener. Five of the compartments are embellished with small star and tree forms in a seemingly spontaneous arrangement while the last compartment has been left almost plain. The sides of the field are decorated with large S-designs in all the spaces where the trefoils do not extend to the ends. There is no clear separation between the field and border; the two sections merge into one another. Hirsch assumes that the kilim was used as a divan cover. – Signs of age and wear, incomplete sides, missing sections. Mounted onto canvas.
HULL, ALASTAIR & LUCZYC-WYHOWSKA, JOSE, Kilim. The Complete Guide. London 1993, Nr. 245 *** HALI 87, 1996, S. 168 (Ausstellung Galerie Sailer)
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 52
Aksaray KilimAdd to wishlist
VOK Collection: Anatolia 76
- Central Anatolia, Cappadocia
- 374 x 169 cm
- First half 19th century
- 5,000 - 6,000
Abrashed in several places, the red field of this two-panel kilim is dominated by two huge nested hexagons with serrated outlines. The lateral outlines of the motif consist of brilliant white hooked bands ending in diagonal hooked arms stretching away from the corners. A small hexagon has been placed between them slightly above the centre of the field, with six very long, straight horizontal parallel lines extending from its corners and almost touching the sides of the field. This rare design is not encountered elsewhere in the same compositional context, and directly comparable pieces are currently unknown. The spaces not covered by the primary design are filled with serrated hexagons aligned on the central axis, hooked hexagons set along the sides and many small devices. The lateral main border – a sharply serrated brown band on a yellow ground – combines with the field to produce a reciprocal trefoil design. The same trefoil border is seen, for instance, in a kilim from the McCoy Jones Collection, the Vok kilim A 66 and one further kilim in the Galveston Collection (see Petsopoulos 1991), which also displays the same box shapes containing a spider gül in one of the elem panels. Slight variations in the colour and style of the two bands suggest that they were made by two different weavers. – Incomplete ends, slight signs of age and wear. Mounted onto canvas.
COOTNER, CATHRYN & MUSE, GARRY, Anatolian Kilims. The Caroline & H. McCoy Jones Collection. San Francisco-London, 1990, Tf. 44 *** PETSOPOULOS, YANNI, 100 Kelims. Meisterwerke aus Anatolien. München 1991, Nr. 81 *** FRAUENKNECHT, BERTRAM, Frühe türkische Tapisserien. Nürnberg 1984, Tf. 17
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 76
Shakhrisyabz (?) SuzaniAdd to wishlist
VOK Collection: Suzani 2, 71
- Central Asia, South West Uzbekistan
- 269 x 214 cm
- Ca. 1825 – 1850
- 40,000 - 45,000
This large suzani embroidered in the kanda khayol surface stitch is a captivating piece with an almost explosive design and an enormous variety of intense brilliant colours. The dense field design of colourful flowers and petrol stems is divided into three offset vertical rows continuously repeating the same design units. The sweeping shapes of the motifs protrude into the gaps between the motifs of the next row, creating a sophisticated web of relationships. Each design unit consists of a diamond with indented sides enclosing a large star-shaped top-view blossom; its four tips bear fan-shaped palmettes, and the sides are decorated with four stems ending in large serrated lancet leaves. In the main border, large top-view and side-view blossoms are linked and surrounded by striking, elongated thin vines. It contains the same serrated leaves, albeit drawn to a larger scale. Although the suzani displays obvious similarities with Shakhrisyabz embroideries, it does not appear to immediately belong in this group. The wild style of drawing and expressive colours is palpably different from the disciplined and calm appearance of most Shakhrisyabz pieces. The small light blue pearls and petrol blossoms lined up in a chain along the secondary borders may offer a clue to its provenance. They also appear in the suzani Vok 38. – Slight signs of age and wear, good overall condition. Mounted onto canvas.
DODDS, DENNIS & EILAND, MURRAY L.,JR. (Hrsg.), Oriental Rugs From Atlantic Collections. Philadelphia 1996, Nr. 259 *** CHRISTIE'S South Kensington, Auktion 13. Oktober 2004, Lot 212
NAGEL Stuttgart, Auktion 15. Mai 2001, Lot 1670 *** VOK, IGNAZIO, Vok Collection. Suzani 2. Eine textile Kunst aus Zentralasien. (Text: Jacob Taube). München 2006, Nr. 71
Large Medallion SuzaniAdd to wishlist
VOK Collection: Suzani 42
- Central Asia, South West Uzbekistan, Kermina
- 275 x 180 cm
- Ca. 1825 – 1850
- 35,000 - 40,000
“Large medallion” suzanis from Bokhara are some of the most beautiful Central Asian embroideries. For Ignazio Vok, their appeal was so great that he acquired eleven suzanis of this special group, owning more examples than any other museum or private collection. Vok purchased the item offered here in 1989 from Herrmann, who believed it to be a Shakhrisyabz embroidery. In his monograph, "The Great Embroideries of Bukhara" published in 2000, Franses catalogued and discussed the 54 examples of which he was then aware. He arrived at the conclusion that the large medallion suzanis were made in Bokhara or its surroundings. The group is characterised by a monumental overall effect achieved by designs of an expressive and dynamic style, usually executed in strong and brilliant colours. However, there are significant differences in terms of composition, ornamentation, palette, size and embroidery technique, leading Franses to classify them into various groups. – Suzani 42 in the Vok Collection belongs to the rare "H design group" (H1 in Franses), only two examples of which have been published to date (example H2 is in an American collection). It is probably from the town of Kermina situated north of Bokhara, just like the far smaller suzani Vok 45 which is closely related in composition, with an almost identical central motif. The field displays a four-and-one design in which four blossoms placed in the corners and drawn in different styles are linked to the large medallion by delicate diagonal stems. The powerful circular central motif, with the typical interior drawing resembling a spoked wheel, takes up the entire width of the field. All five primary motifs are surrounded by green vines. The same vines undulate through the wide main border, winding around twelve large, circular, alternately side-view or top-view blossoms. The surfaces of the blossoms are embroidered in red and purple, almost tone-on-tone, using mostly the ilmoq and basma stitches, with minor details in the yurma chain stitch to create contrasting effects. The overall expression of the colours, the style of the secondary borders with blossoms in blue and beige, and several secondary motifs such as the botehs and palmettes suggest a provenance in Kermina. – Good condition. Backed with fabric.
FLING, RUSSELL S., Khans, Nomads & Needlework. Suzanis and Embroideries of Central Asia. Columbus, Ohio 2012, Nr. 15
HERRMANN, EBERHART, Asiatische Teppich- und Textilkunst 1. München 1989, Nr. 57 *** VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 42 *** FRANSES, MICHAEL, The Great Embroideries of Bukhara. London 2000, H1, S. 85
Sehna KilimAdd to wishlist
VOK Collection: Caucasus - Persia 67
- North West Persia, Kurdistan
- 148 x 117 cm
- Early 19th century
- 7,000 - 9,000
Following a coup d’etat which claimed the life of the last Zand Shah, the Persian Empire was ruled by the Turkmen Qajar dynasty from 1794 to 1925. Ill-fated in their handling of foreign policy, their rulers caused the country to become increasingly dependent on Russia and Great Britain, strangling its economy. The enormous luxury which the Qajar Shahs cultivated in their courts was funded by selling or leasing important sources of government revenue to foreign companies. On the other hand, the Persian arts received significant support from the shahs and their entourage, experiencing a heyday in this period of political and economic decline. – All six Sehna kilims in the Vok Collection were woven in the first half of the 19th century during the reign of the second Qajar ruler Fath Ali Shah (1797 – 1834) and his successor Mohammad Shah (1834 – 1848). They are paradigms of the refined taste of the Qajar period and constituted prestige objects indicating the social status of their owners. Comparable Sehna kilims are seen in 19th century Persian paintings and photographs, often in a court context. Two main groups can be distinguished in terms of style. Group one, which includes CP 66 and CP 67, shows a more austere and geometric style of drawing than group two. Their borders contain reciprocal trefoils. In group two, which includes the four examples CP 68 – 71, the secondary borders always consist of floral vines, and trefoils do not occur. – This Sehna kilim is one of the most finely woven surviving examples. The white mihrab field and the dark blue section above the elegantly pointed arch are densely patterned in offset rows of small flowering shrubs, their colours diverging slightly to coordinate with their respective grounds. The three-band border section, with hexagons in the blue-black central band and stepped diamonds in the secondary bands, is unusually wide and presents a fascinating diversity of colour. – Although the original finishes are missing all around, the kilim is very well preserved considering its great age. It is backed with a blue fabric.
McMULLAN, JOSEPH V., Islamic Carpets. New York 1965, Nr. 35 *** COOTNER, CATHRYN, Flat-Woven Textiles. The Arthur D. Jenkins Collection. Vol. I. Washington 1981, Nr. 8 *** RIPPON BOSWELL, Auktion 49, 23. Mai 1998, Lot 164 *** DODDS, DENNIS & EILAND, MURRAY L. (Hrsg.), Oriental Rugs From Atlantic Collections. Philadelphia 1996, Nr. 270
PETSOPOULOS, YANNI, The Qajar kilims of Sehna. In: HALI 31, 1986, S. 46, Abb. 6 *** LEVI, ALBERTO, Renewal & Innovation. Iconographic influences on Kurdish carpet design. In: HALI 79, 1993, S. 92. Abb. 13 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 67
Qashqa’i KilimAdd to wishlist
VOK Collection: Caucasus – Persia 95
- South West Persia, Fars province
- 270 x 143 cm
- Second half 19th century
- 3,000 - 3,600
A light and breezy tile design in mellow and harmonious colours covers the field of this gorgeous Qashqa’i kilim, attributed to the Shekarlu by Sadighi. The white cotton ground constitutes the lines of a diamond lattice surrounding compartments in various colours arranged into colour diagonals. The border – simply a narrow surrounding band of small stepped polygon halves in green and red – does not compete with the field. The wide end finishes of horizontal stripes are embellished with additional bands brocaded in “domino” motifs, three at the bottom and two at the top. Except for several halved diamonds enclosing nested forms along the inner sides of the field, all the diamond compartments are plain-coloured and undecorated. Slight irregularities in the drawing and colour sequence at the beginning of the field, where the lattice is interrupted by a horizontal row of white compartments, suggest that the weaver initially had difficulty organising the repeat. It took some time for her to find the correct rhythm. Such imperfections constitute the particular appeal of antique nomad weavings, distinguishing them from later kilims made for commercial purposes. – The kilim was first shown at a Textile Gallery exhibition, "The Qashqa’i and Their Neighbours" (no catalogue) in London in 1975 and published by Petsopoulos in 1980. Our references include three other kilims with tile designs. A comparison with CP 95 shows how slight modifications, such as a different ground colour or the addition of filler motifs in the compartments, can alter the effect of a design. – Slight signs of age and wear, good overall condition.
AMPE, PATRICK & RIE, Textile Art. A personal choice (Kailash Gallery). Antwerpen 1994, Nr. 8 *** RIPPON BOSWELL, Auktion 82, 25. Mai 2013, Lot 40 *** GALERIE NEIRIZ (Hrsg.), Kelims der Nomaden und Bauern Persiens. Berlin 1990, Abb. 37
PETSOPOULOS, YANNI, Der Kelim. Ein Handbuch. München 1980, Nr. 391 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 95
Kurdish KilimAdd to wishlist
VOK Collection: Anatolia 63
- East Anatolia, south west of Sivas
- 359 x 157 cm
- First half 19th century
- 12,000 - 16,000
Woven in a single piece, this white-ground kilim with a wide red surround is a masterpiece of graphic design. Hirsch assumes that it was made in a Kurdish village south west of Sivas and only presented on festive occasions. A kilim related in composition, colour scheme and ornamentation was described as a Karapinar by Herrmann. – Four nested diamonds drawn in a clear and simple style float along the central axis of the field. They are surrounded by lozenges with parmakli outlines, divided along their centres into two halves of different colour. A red star and several comb motifs have been randomly incorporated into the basic design. The mellow colours and perfectly proportioned design create an impression of harmony and consistency in the kilim. The border, a triple serrated band, adds considerably to this effect, enclosing the field like a protective wall. – Mounted onto canvas, good condition.
HERRMANN, EBERHART, Asiatische Teppich- und Textilkunst 4. München 1992, Nr. 35
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 63
Mut KilimAdd to wishlist
VOK Collection: Anatolia 36
- South East Anatolia, Mersin province
- 292 x 149 cm
- Second half 19th century
- 6,000 - 7,500
This colourful single-piece kilim is from an as yet unidentified village in the Mut region in the foothills of the Taurus Mountains. It is likely that kilims have been woven there for a very long time. The old military road leading from Central Anatolia to Cilicia passed through this area which has been inhabited for many millennia. The field design consists of two wide and two narrow panels containing three vertical rows of huge "gülbudak" designs. Complete in the wide panels, they appear in detail view in the narrow panels. The four panels are clearly separated by five brown horizontal bands of double hooks. The kilim has been woven without vertical borders. – The gülbudak, a funnel shape with two central horizontal arms at the sides and boldly serrated outlines, is a design frequently seen in Anatolian kilims. In this rug, the motifs are extraordinarily large and drawn in the typical curvilinear style of Mut kilims, with very long and slightly curved points. The reciprocal interplay of the primary designs and the white ground of the field produces a second design layer of alternative forms. This creates an intriguing dialogue of shapes and colours which viewers will never tire of contemplating. – Small restored areas, very good condition.
ESKENAZI, JOHN & VALCARENGHI, DARIO, Kilim anatolici. Mailand 1985, Nrn. 66 und 67 *** BRÜGGEMANN, WERNER, Yayla. Form und Farbe in türkischer Textilkunst. Frankfurt 1993, Nrn. 77 und 80
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 36
Yüncü KilimAdd to wishlist
VOK Collection: Anatolia 57
- North West Anatolia, Balikesir region
- 206 x 158 cm
- Ca. 1800
- 3,500 - 4,200
This kilim was made in a Yüncü village in the Balikesir region. A dark blue tree-of-life design fills the red field, which is surrounded by a wide blue outer band. The vertical central band constitutes the trunk from which branches decorated with double hooks grow horizontally towards the sides of the field. However, the two branches in the middle run from the sides to the centre without touching the trunk. The strictly symmetrical, mirror-image composition is thus not as easy to read as it first appears. Several small decorative motifs have been incorporated into the design, including a star-shaped amulet. – The tree of life is one of the oldest symbols of the Near Eastern cultures. The Yüncü had developed their own form of expression in a geometric abstract style for representations of trees of life in their kilims, which became so fixed by tradition that the differences between the surviving antique examples are negligible. – Good condition.
BALPINAR, BELKIS & HIRSCH, UDO, Flachgewebe des Vakiflar-Museums Istanbul. Wesel 1982, Tf. 44 *** FRAUENKNECHT, BERTRAM, Frühe türkische Tapisserien. Nürnberg 1984, Tf. 12 ** WOLFF-DIEPENBROCK, JOHANNES (Hrsg.), Eine Sammlung. Textilien aus Anatolien, dem Kaukasus, Persien, Mittelasien, Zentral- und Ostafrika. Köln 2009, Tf. S. 15 *** KELIM-CONNECTION AACHEN (Hrsg.), Kultkelim. Ausgewählte anatolische Flachgewebe. Aachen 1999, Tf. 3
VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 57