Major Spring Auction
Saturday 29. May 2021 at 3 p.m.
This door rug knotted on a goat hair warp is one of the early examples of the Ersari tribes. Indications of its age are the format, the generous composition of designs drawn with a confident sense of style and the light palette. – Signs of age and wear, low pile. The original finishes survive all around.
- Central Asia, middle Amu Darya valley
- 170 x 139 cm
- First half 19th century
RAGETH, JÜRG, Turkmenische Teppiche. Ein neuer Ansatz. Vol. 1, no. 35. Basel 2016
A pastoral blanket composed of three panels featuring a minimalist design in white and light brown on a dark brown ground. The glossy goat hair pile is woven in a loop technique, the warps are white cotton. – Slight signs of wear, good overall condition.
- South East Anatolia
- 189 x 130 cm
- First quarter 20th century
TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, pl. 122
The field design of small side-view and top-view blossoms cascading upwards and linked by delicate stems with pairs of green leaves is comparatively rare in Bokhara suzanis. In this respect our suzani is related to an example in the Wolf Collection. Differences exist in the design of their borders, which here consists of diamond compartments formed by lancet leaves and filled with larger scale blossoms in varying shapes. – The embroidery is very well preserved. The very fine beige cotton foundation is brittle and torn in a number of places, with small missing areas. Reverse backed with canvas.
- Central Asia, South West Uzbekistan
- 238 x 160 cm
- First half 19th century
GRUBE, ERNST J., Keshte. Central Asian Embroideries. The Marshall and Marilyn R. Wolf Collection. New York 2003, no. 17
Composed of five panels, this large and nearly square Tashkent silk embroidery features a paliak design. Red circular poppy blossoms in varying sizes dominate the design. The composition centres on an oversized blossom from which radiate eight smaller blossoms. Each corner of the field contains one large blossom, with a blossom shown in side view placed between them. All the circular blossoms are plain purple-red spaces, intensifying the effect of their colour. Their inner structure of concentric circles has been created by skilful application of the stitches. Dark green stems create a latticework in the field. Small blossoms of varying shapes in bright iridescent colours are scattered across the entire surface as an additional design layer. – This suzani was exhibited at Powel House, Philadelphia, in 1935 (Exhibition of Needlework) and won third prize. This is stated in a label on the reverse. – Very good condition. No fabric backing.
- Central Asia, North East Uzbekistan
- 228 x 180 cm
- Third quarter 19th century
VOK, IGNAZIO, Vok Collection. Suzani. Munich 1994, no. 2 = RIPPON BOSWELL, A 91, Vok Collection, Selection 3. 25 March 2017, lot 215
A small-format, high quality Ura Tube prayer suzani. The blossoms and leaves are embroidered in the basma stitch while the outlines are in the ilmoq stitch. The tall, tower-like mihrab topped by a small pointed arch is unusually small in this item. It is positioned at the very bottom of the field, which is densely filled with curved stems bearing poppy blossoms. Enclosed within is a flowering poppy plant as a tree-of-life motif. The lower selvedge appears to be the original condition, so the suzani would have lacked a border finish at the lower end. Purchased by the collector at Eberhart Herrmann’s gallery, Munich, in 1991. – Very good condition, mounted onto canvas and attached to a frame.
- Central Asia, North East Uzbekistan, Fergana
- 92 x 62 cm
- Mid 19th century
BAUSBACK, PETER, Antike Teppiche. Sammlung Franz Bausback.Mannheim 2000, pl. p. 215 *** FLING, RUSSELL S., Khans, Nomads & Needlework. Suzanis and Embroideries of Central Asia. Columbus, Ohio 2012, no. 27
A Turkish silk embroidery on a fine linen foundation composed of two vertical panels joined at the centre. It was not produced in a workshop, but is a village piece made in a domestic setting. The cloth originally belonged to a bride’s dowry. Six horizontal opposing sprays of lively curved stems grow towards the field centre from the sides. Each spray bears three red hyacinths and small golden flowers as well as trusses of cornflower blue and lime green leaves. – Slight signs of age and wear, darkened and somewhat stained foundation.
- West Anatolia
- 134 x 82 cm
- 19th century
BAUSBACK, PETER, Antike orientalische Knüpfkunst. Mannheim 1977, ill. p. 25 *** ERBER, CHRISTIAN, Reich an Samt und Seide. Osmanische Gewebe und Stickereien. Bremen 1993, p. 12/4, ill. p. 273
The second Lotto carpet in this auction also belonged to Martina Limburger von Hoffmann of Leipzig, and has been continuously owned by the family since the early 20th century at the latest. Martina Limburger von Hoffmann ran a large house, collected art and was in contact with the museum curators and antique dealers of the day. However, the surviving documents offer no information as to who bought this Lotto and when this purchase was made. – On the red ground, golden yellow arabesques and geometrically stylised blossoms and leaves combine into the characteristic repeat of hermetically interlocked crosses and larger octagons. In this example it is drawn in the so-called kilim style. The main border design of cassettes enclosing diagonal crosses and linked by overlapping crosses placed between them is rather rare in Lotto carpets. A so-called Bellini niche and re-entrant carpet (see Eskenazi), which probably dates from the same period as our Lotto, shows an identical border. There are three further Lottos with this border: a larger carpet in the Bavarian National Museum, Munich, that is closely related to our Lotto in style; a Lotto published by Schürmann about the same size as our piece; and a Lotto of later date (17th century) formerly in the Bernheimer Collection. – Obvious signs of age and wear, low pile, old repairs. The yellow outer borders have been repiled on both sides, and there is one repiled stripe in the outer border at the top.
- West Anatolia, Ushak region
- 178 x 110 cm
- First half 16th century
ESKENAZI, JOHNNY, Il tappeto orientale dal XV al XVIII seculo. London 1981, pl. 5 *** CURATOLA, GIOVANNI, Teppiche. Milan 1981, no. 5 (Munich museum) *** SCHÜRMANN, ULRICH, Teppiche aus dem Orient. Wiesbaden 1976, ill. p. 57 *** BERNHEIMER, OTTO, Alte Teppiche des 16. bis 18. Jahrhunderts der Firma L. Bernheimer. Munich 1959, picture 6
In the red field, a rectangular central medallion with a cruciform interior drawing is framed by three borders and surrounded by a white outline of double hooks. Four hooked octagons, each enclosing a large blossom and edged either in yellow or white, are arranged around it. The blue-green main border of large kochanak designs, hooked diamonds and star-shaped blossoms is strongly influenced by Turkmen designs. – The comparatively large number of surviving examples of this Bergama rug group are virtually indistinguishable. There are very few deviations in format, design and palette. Almost all of them are very finely woven and accordingly precise in drawing. Their four-and-one medallion composition goes back to 16th century large-pattern Holbein carpets. – Very good condition, even the original flatwoven blue selvedges are preserved, the kilim finishes are no longer extant.
- North West Anatolia
- 173 x 168 cm
- Mid 19th century
GROTE-HASENBALG, WERNER, Der Orientteppich. Seine Geschichte und seine Kultur. Berlin 1922, volume 2, pl. 22 *** BATTILOSSI, MAURIZIO, Tappeti d'Antiquariato. Catalogo I. Turin 1985, no. 2 *** BAUSBACK, PETER, Alte und antike orientalische Knüpfkunst. Mannheim 1979, pl. p. 1 *** TKF-WIEN (publ.), Antike anatolische Teppiche aus österreichischem Besitz. Vienna 1983, no. 24 *** RIPPON BOSWELL, A 97, Zaleski Collection, 30 November 2019, lot 116
A brocaded red-ground flatweave produced in a single piece and featuring a cassette design. The 20 compartments each hold a central box motif embedded in a filigree diamond design. They vary in ground colour and are framed in the style of a grid by bands composed of small squares enclosing diamonds. Made by the Azeri of the Karabagh region, these covers used to be known as "verneh", but now the term "zili" has gained currency. Wright found out that a flatweave of the same group was described as a "Shusha Zili" in the accompanying catalogue of an exhibition held in Petrograd in 1913. This pretty example woven in harmonious colours represents the small-format type that is almost square in dimensions. Compartment zilis are often considerably larger. Purchased by the collector at Gripekoven, Munich, in 1997. – Slight signs of wear, good overall condition.
- South Caucasus, Karabagh
- 188 x 172 cm
- Second half 19th century
WRIGHT, RICHARD, On the Origin of Caucasian Village Rugs. In: Oriental Rug Review Review, vol. 10, no. 4. Meredith, NH 1990, p. 47, fig. 7 *** WRIGHT, RICHARD & WERTIME, JOHN, Caucasian Carpets & Covers. London 1995, pl. XVI *** SPUHLER, FRIEDRICH, KÖNIG, HANS & VOLKMANN, MARTIN, Alte Orientteppiche. Meisterstücke aus deutschen Privatsammlungen. Munich 1978, no. 34
The whole of the dark green field is taken up by a large hexagonal central medallion with a brown-red ground which encloses a smaller medallion studded with white blossoms. Trees bearing star-shaped blossoms stand in the corners of the field, and the white-ground border contains small cartouches and arrangements of triangles. The composition and ornamentation of these rugs woven in Dazkiri and its surroundings hark back to specific models of the "Transylvanian" group. A fine weave, blazing red warps, strong colours. – Slight signs of age and wear, good overall condition, the original blue selvedges and the kilim finishes survive.
- South West Anatolia, Afyonkarahisar Province
- 140 x 123 cm
- Mid 19th century
RIPPON BOSWELL, FFM 23, 3 May 1986, lot 58