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VOK COLLECTION, Selection III

Saturday 25. March 2017 at 3 p.m.

94 Lots
  • Shakhrisyabz Suzani

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    • Lot247
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions260 x 215 cm
    • AgeCa. 1775 – 1800
    • Estimate EUR38,000 - 42,000
    VOK Collection: Suzani 29

    This large suzani, outstanding in quality and palette, is one of the most beautiful known embroideries from Shakhrisyabz, a highlight in the Vok Collection which includes such a wealth of superb examples. It may be dated to the period before 1800. All the designs are embroidered in the kanda khayol technique that is typical of the provenance, with ilmoq outlines. The layout of the asymmetric field design is very unusual. It consists of four parallel bands of ascending dark green vines and slender flowering stems which seem to be separate entities corresponding exactly to the width of the various panels of the foundation, except in two places where the motifs continue into the adjacent bands. Before beginning an embroidery, the outlines of a composition and its components were usually drawn onto the multi-panel foundation to produce a coherent unbroken image. Is it possible that this was not the case here? Were the panels embroidered without previously establishing a "masterplan"? Other early Shakhrisyabz suzanis display the same phenomenon, although less distinctly than this item. The ten long top-view or side-view blossoms are arranged in a strikingly spontaneous layout. The long curving or winding stems grow in different directions, adding a particular swing to the composition. They bear different flowers in wonderfully brilliant colours, including blue and yellow. In the gorgeous main border, fourteen large blossoms rendered alternately in top view as discs or in side view as fan-shaped palmettes are linked by long green vines. The secondary borders also display an amazing quality of drawing. – Good condition. Backed with fabric.

    Published:
    VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 29

  • Samarkand Suzani

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    • Lot248
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions235 x 172 cm
    • AgeCa. 1750 – 1800
    • Estimate EUR30,000 - 35,000
    VOK Collection: Suzani 17

    The self-contained elongated rectangle at the centre of the field contains a huge, central star-shaped rosette, ist sixteen tips and indentations decorated with small blossoms, flowering stems and panicles. Ist very dense interior design consists of stems and flowers radiating from a cruciform blossom. Six shrubs are grouped around the rosette. The star-shaped blossoms in the corners are cut by the border, leaving only sections of them visible. The wide space between the inner panel and the border has been filled with twelve large, widely spaced flowering shrubs, with slender panicles bearing purple blossoms placed between them. All the motifs are aligned outwards in the horizontal, vertical or diagonal directions, generating a movement away from the centre. - Suzanis presenting this idiosyncratic composition are almost always described as 19th century Nurata embroideries, which is probably incorrect because production in that small town could never have been significant. Most of the embroideries of this design were probably made in the far larger centre of Bokhara. The Vok suzani 17 showing the "Nurata" design is embroidered in the kanda khayol technique which was not local to Bokhara. A very rare 18th century example, it displays a strikingly lively and fiery style of drawing obviously influenced by Shakhrisyabz. Several features indicate a provenance in Samarkand: the colour scheme in general and a specific shade of pink in particular; the drawing of the small rosettes; the wide red boundary lines of the borders; and the observation that the blossoms and leaves touch the red dividing stripes everywhere, even covering them in some places. The latter phenomenon is considered an important identifying feature of Samarkand embroideries. – Minor holes in the foundation have been backed with fabric. Good condition. Mounted onto canvas.

    Literature:
    KALTER, JOHANNES & PALALOI, MARGARETA, Usbekistan. Erben der Seidenstraße. Stuttgart 1995, Abb. 549 *** BAUSBACK, PETER, Susani. Stickereien aus Mittelasien. Mannheim 1981, Tf. S. 33 *** RIPPON BOSWELL, A 84, 31. Mai 2014, Los 121

    Published:
    CHRISTIE'S London, Auktion 10. März 1988, Lot 12 *** VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 17

  • Qashqa’i Striped Kilim

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    • Lot249
    • OriginSouth West Persia, Fars province
    • Dimensions290 x 170 cm
    • AgeMid 19th century
    • Estimate EUR3,000 - 3,700
    VOK Collection: Caucasus – Persia 81

    Kilims presenting horizontal stripe designs were woven by a number of Iranian tribal groups for everyday use, serving as covers for various purposes. Borders are usually absent in striped kilims, and their endless repeats flows beyond the vertical sides. At a first glance this striped kilim appears to be a Shahsavan weaving, but closer inspection reveals that it was woven by Qashqa’i nomads in the province of Fars. This is indicated by the three brocaded zigzag bands at both ends and the multi-coloured overcasting along the sides. Sadighi gives the Kohgiluyeh region as the provenance. - The abstract geometric composition of wide stripes alternating with clusters of narrow stripes, without any additional decorative devices, has been rendered in a wide variety of tastefully coordinated, first-rate colours. Their arrangement does not follow a fixed concept, except for the narrow white stripes repeated at regular intervals which provide a clear structure in the composition. The alternating rhythm of the stripes, their slightly undulating lines and the quality of the colours make this kilim highly expressive. – Slight signs of wear, one small hole, good overall condition, original finishes all around.

    Literature:
    HALI 79. London 1995, S. 132 (Adv. Shaver-Ramsay)

    Published:
    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 81

  • "Talish" Kilim

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    • Lot250
    • OriginSouth East Caucasus, Moghan region
    • Dimensions307 x 158 cm
    • AgeMid 19th century
    • Estimate EUR10,000 - 12,000
    VOK Collection: Caucasus – Persia 8

    This very long kilim woven in a single piece is considered the most beautiful example of this rare group currently known. It was first published by Lefevre in 1977, then in the photo catalogue of Westphalian private collections in 1979, and again that same year in the first edition of the kilim book by Petsopoulos. Produced from top-quality wool, more finely woven than other examples and with meticulous attention to detail, including accentuation of the embroidered outlines around the motifs in a different colour and weft interlocking, it stands out on account of its excellent material and aesthetic qualities. Its most exceptional feature is the splendour of its brilliant colours. – Closely spaced, offset horizontal rows of large, triple nested diamonds have been placed on a midnight blue ground. The diamond centres are emphasised either by an eight-pointed star or a form composed of two arrowheads. At the lateral points of return, the stepped outlines have been modified into an incised form consisting of two pointed triangles; appearing to open, they underline the flowing nature of the repeat. The narrow border of reciprocal trefoils is typical of this kilim group, named "Talish" kilims by Petsopoulos. The term must be understood as a geographic rather than an ethnological designation since it is probably no longer possible to ascertain whether these weavings were made by the Moghan Shahsavan, the Azeri tribes or the Talish group inhabiting the border region between the South East Caucasus and North West Persia. – The corroded brown sections have been partially rewoven or repaired, very good overall condition.

    Literature:
    HERRMANN, EBERHART, Seltene Orientteppiche VIII. München 1986, Nr. 58 *** RIPPON BOSWELL, Auktion 51, 15. Mai 1999, Lot 167 *** HALI 75, 1994, S. 18 (Adv. Purdon) *** BURNS, JAMES D., Visions of Nature. The Antique Weavings of Persia. New York 2010, Nr. 29

    Published:
    LEFEVRE, JEAN & PARTNERS, Caucasian Carpets from the 17th to the 19th century. London 1977, Tf. S. 77 *** FREUNDESKREIS ORIENTALISCHER TEPPICHE UND TEXTILIEN IN WESTFALEN (Hrsg.), Fotokatalog der Ausstellung orientalischer Knüpf- und Wirkteppiche aus Westfälischen Privatsammlungen. Greven 1979, Nr. 53 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 8

  • Shakhrisyabz Suzani

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    • Lot251
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions240 x 192 cm
    • AgeCa. 1750 – 1775
    • Estimate EUR28,000 - 35,000
    VOK Collection: Suzani 32

    The four-and-one design, with a large, circular top-view flower at the centre of the field and four small, fan-shaped side-view blossoms diagonally branching from it, is often seen in Shakhrisyabz suzanis. It is something of a distinguishing feature of the provenance. The border is always very wide and, accordingly, decorated with large-format designs, usually circular blossoms alternating with diagonal crosses of five blossoms. The particular style of drawing of the vines and leaves, creating a jagged look, is a further feature distinguishing these unique embroideries. – All three Shakhrisyabz suzanis with the four-and-one composition in the Vok Collection (S 32 – 34) are first-rate examples of outstanding artistic quality and equally appealing. On closer inspection they are more individual in design and more diverse in colour than it would initially appear. While the wealth of detail and rich colours of S 33 and S 34 create an impression of almost baroque splendour, the third suzani S 32 now offered appears less ostentatious, more tranquil and restrained. In comparison, its composition is strikingly spacious, with all the designs placed at a distance from one another. We are therefore certain that S 32 is a particularly early example. This is supported by the degree of patination in the foundation, which has taken on a light brown shade, and the fact that the colour red does not appear anywhere (blossoms initially appearing red are actually composed of pink and orange segments). – Slight signs of age and wear, very good overall condition. Backed with fabric.

    Literature:
    COOTNER, CATHRYN M., Gardens of Paradise. In: HALI 30, 1986, Nr. 5, S. 49 *** WOLFF-DIEPENBROCK, JOHANNES (Hrsg.), Eine Sammlung. Textilien aus Anatolien, dem Kaukasus, Persien, Mittelasien, Zentral- und Ostafrika. Köln 2009, Tf. S. 169 KALTER, JOHANNES & PALALOI, MARGARETA, Usbekistan. Erben der Seidenstraße. Stuttgart 1995. Abb. 548 (Islam. Mus. Berlin)

    Published:
    VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 32

  • Katti Kurgan Suzani

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    • Lot252
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions167 x 112 cm
    • AgeCa. 1800
    • Estimate EUR20,000 - 25,000
    VOK Collection: Suzani 14

    Taube describes the suzani Vok 14 as a piece from Samarkand. Fling attributes a similar example published by him to the same provenance. A third suzani in the museum of Kermina published in HALI is supposed to be from that city or Katti Kurgan. – Suzanis are attributed to specific production centres based on shared characteristic features such as the embroidery technique, materials, palette, ornamentation and style. However, attribution is more difficult in cases where a suzani displays features from different provenances. This unusual suzani shows influences from Samarkand, Shakhrisyabz, Karshi and Kermina, combining them into an idiosyncratic and individual composition. We assume that it was made in Katti Kurgan. The small town is situated at a roughly equal distance from all these centres at a junction where all the influences from the larger centres converged. – The suzani is very finely embroidered in the yurma chain stitch throughout. Its beautifully luminous colours and consummate drawing make it the best example of a rare group with only a few known examples. The primary design is a four-and-one composition of five large disc-shaped blossoms encircled by a boldly drawn leaf vine. The large central blossom is flanked by two smaller lateral disc-shaped blossoms. The most prominent feature is the triangular blue leaves inserted between them, almost completely covering the white ground of the field. Although typical of this group, they also appear in rudimentary form in other suzanis (such as the Samarkand suzani Vok 56). In colour, design and style, the striking stars appearing to rotate within the flowers are reminiscent of analogous motifs from Samarkand and Shakhrisyabz. Powerful and dynamic in expression and embroidered in richly contrasting colours, with large amounts of magenta and orange, the composition is obviously based on models from Shakhrisyabz. Then again, the border design of light blue blossoms surrounded by a lively green vine displays the Karshi style. The outlines of the blossoms and vines are accentuated in contrasting colours (red and golden yellow), as seen in some embroideries from Kermina. – Very good condition, mounted onto canvas.

    Literature:
    FLING, RUSSELL S., Khans, Nomads & Needlework. Suzanis and Embroideries of Central Asia. Columbus, Ohio 2012, Nr. 6 *** HALI 162, 2009, S. 23, Nr. 12 *** HALI 31, 1996, In: HALI Gallery II (Adv. Rugs & Art Inc.)

    Published:
    VOK, IGNAZIO, Vok Collection. Suzani. Eine textile Kunst aus Zentralasien. (Text: Jakob Taube) München 1994, Nr. 14

  • Cappadocian Kilim

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    • Lot253
    • OriginCentral Anatolia, southern Cappadocia
    • Dimensions445 x 146 cm
    • AgeFirst half 19th century
    • Estimate EUR7,000 - 8,500
    VOK Collection: Anatolia 62

    The blue surround of the field is the most striking feature of this large two-panel kilim from Cappadocia. The sides are decorated with towers projecting into the field, creating reciprocal forms against the white ground. They are crenellated for technical reasons in order to avoid long vertical slits, but the weaver has also used this as a stylistic device to add drama to the design. The ancient mural crown motif familiar to archaeologists was depicted in paintings as early as the Hellenistic period and probably belonged to the design repertoire of Anatolian weavers even earlier. It is encountered in kilims from different regions. – Visually impressive, the field is sparsely decorated in lozenges of different sizes arranged in five horizontal rows and interspersed with small H-motifs; its open space and subdued palette offer a distinct contrast to the two wide end panels of colourful horizontal stripes. Tripartite compositions of this kind are often seen in mural crown kilims. The fact that the field and elems share the same lozenge designs establishes an ornamental link between them. A kilim published by Petsopoulos, attributed to Sivas, and a kilim from the inventory of Kailash Gallery, Antwerp, sold by us in 1997 display the same composition as A 62. – Slight signs of age and wear, minor repairs, good overall condition. Mounted onto canvas.

    Literature:
    PETSOPOULOS, YANNI, 100 Kelims. Meisterwerke aus Anatolien. München 1991, Nr. 95 *** RIPPON BOSWELL, Auktion 48, 22. November 1997, Lot 192

    Published:
    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 62

  • Sivas Niche Kilim

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    • Lot254
    • OriginEastern Central Anatolia
    • Dimensions249 x 163 cm
    • AgeMid 19th century
    • Estimate EUR3,500 - 4,500
    VOK Collection: Anatolia 8

    This exceptionally large niche kilim probably served as a wall hanging, possibly in a mosque. It is very finely woven, and the term “fine as a cloth” truly applies to describe its texture. Undecorated except for twelve offset diamonds with serrated outlines, the field is heavily abrashed in greens and blues of different brightness and lined with red double hooks along the sides. The diamonds appear to float in the empty space like blossoms in a pond. The triangular arch has moved to the very top end of the field. Its tip encloses a design of two hexagonal spider motifs and one tree form. The midnight blue area above it is densely filled with small flowering shrubs, and rosettes adorn the inner, equally blue-ground secondary border. The diamonds with long diagonal outlines seen in the yellow main border occasionally occur in East Anatolian kilims (see Petsopoulos 256 and 257). The kilim is probably a Kurdish weaving from the surroundings of Sivas, although it could have been made further east. Hirsch attributes it to the Erzurum group. – Several rewoven sections, somewhat reduced lower end, partially replaced side finishes.

    Literature:
    PETSOPOULOS, YANNI, Der Kelim. Ein Handbuch. München 1980, Nrn. 256 und 257 *** ESKENAZI, JOHN & VALCARENGHI, DARIO, Kilim anatolici. Mailand 1985, Nr. 80

    Published:
    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims und andere Flachgewebe aus Anatolien. (Text: Udo Hirsch) München 1997, Nr. 8

  • Bijar Kilim

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    • Lot255
    • OriginNorth West Persia, Kurdistan
    • Dimensions425 x 195 cm
    • AgeCa. 1800
    • Estimate EUR3,500 - 4,200
    VOK Collection: Caucasus – Persia 59

    Woven in a Kurdish village in the Bijar region, this monumental single-panel kilim in the kelleh format is one of the oldest surviving examples of its kind. The quality of the colours and archaic appearance of the style of drawing allow us to date it to the period around 1800. The open red field has massive gables at both ends, resulting in a shield-shaped outline, and spandrels in a different colour creating a strong contrast. Three diamonds are linked along the central axis to form an elongated pole design, a motif seen in the same or a similar form in many kilims from North West Persia and Azerbaijan. The wide outlines of the diamonds merge into the connecting pole which continues at both ends of the field, ending in powerful hooks. The main border displays large reciprocal trefoils in white and brown. Two additional bands – red on the inside, polychrome on the outside – constitute the outer end of the long sides. – Signs of age and wear, corroded brown, damaged and partially incomplete ends. Mounted onto canvas.

    Published:
    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 59 *** SADIGHI NEIRIZ, HAMID & HAWKES, KARIN, Kelims und andere Flachgewebe aus der Sammlung Neiriz. Calbe o. J. (2014), Nr. 51

  • Aqkand Kilim

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    • Lot256
    • OriginNorth West Persia, Azerbaijan, Mianeh region
    • Dimensions329 x 166 cm
    • AgeLate 19th century
    • Estimate EUR2,800 - 3,500
    VOK Collection: Caucasus – Persia 56

    The open field woven in changing shades of brown contains a solitary central motif, a large set of nested diamonds with serrated triangular and stepped outlines. Separated from the field by a serrated line, the wide border consists of powerful reciprocal trefoils in dark brown and white. Tanavoli illustrates a related example presenting three diamonds and describes the expressive design as a totemistic symbol. According to him, the kilims of this group were made in the villages surrounding Aqkand, an area some 50 kilometres south east of Mianeh. The kilim is rather finely woven from first-rate wool, and the brown wool warps are tied off into nets at both ends. – Signs of age and wear, some damage to the sides and ends, minor repairs, one hole.

    Literature:
    TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, Tf. 23

    Published:
    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. (Text: Hamid Sadighi) München 1996, Nr. 56