Orient Stars 2

Saturday 02. October 2021 at 6 p.m.

98 Lots
  • Sarre & Trenkwald

    Sarre & Trenkwald

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    • Lot21
    • OriginVienna & Leipzig
    • Dimensionsca. 60 x 45 cm
    • Age1926 - 1928
    • Estimate EUR700 - 800

    SARRE, FRIEDRICH & TRENKWALD, HERMANN, Alt-Orientalische Teppiche. Two volumes of 120 plates.

    Imperial folio format (60 x 45 cm). 

    Half calf edition, black leather spine with embossed gold lettering, boards covered in marbled paper in shades of green. Vienna and Leipzig, 1926 - 1928. – Good condition.

  • F. R. Martin

    F. R. Martin

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    • Lot22
    • OriginVienna
    • Dimensionsca. 66 x 50 cm
    • Age1906 -1908
    • Estimate EUR2,000 - 2,500

    MARTIN, FREDERIK ROBERT, A History of Oriental Carpets before 1800. Printed for the Author with Subvention from the Swedish Government in the I. and R. State and Court Printing Office. Vienna 1906 – 1908

    Portfolio in the imperial folio format (66 x 50 cm). Three volumes. Olive covers with red Art Nouveau lettering. 1906 = Volumes 1 and 2 comprising 33 plates. 1908 = Volume 3: text volume with black-and-white illustrations and colour plates. – Obvious signs of age and wear, many pages creased or torn at the margins, stains. Volume 3 is complete. Volumes 1 and 2 are missing pages 5, 22 and 27, and pages 17 and 24 are missing the colour plates.

  • K. K. Österreichisches Handels-Museum, Orientalische Teppiche and sequel

    K. K. Österreichisches Handels-Museum, Orientalische Teppiche and sequel

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    • Lot23
    • OriginVienna, London & Paris; Leipzig
    • Dimensionsca. 67 x 51 cm
    • Age1892 - 1896
    • Estimate EUR3,500 - 4,500

    K. K. ÖSTERREICHISCHES HANDELS-MUSEUM (Imperial and Royal Austrian Museum of Art and Industry) (ed.), Orientalische Teppiche. With support from the Imperial and Royal Ministry of Culture and Education. Vienna, London, Paris 1892 - 1896. – Imperial folio format (67 x 51 cm). Two volumes, half calf, brown linen boards. 101 plates. Volume 1: text and plates I - XXXX, volume 2: plates XXXX - CI. This example is no. 45. Elaborate custom binding. Complete with all the text sections and the 101 plates. Cover in very good condition, some text pages stained, various loose plates.

    K. K. ÖSTERREICHISCHES MUSEUM FÜR KUNST UND INDUSTRIE, VIENNA (ed.), Altorientalische Teppiche. The sequel to Orientalische Teppiche, published by the K. K. Handelsmuseum (Imperial and Royal Austrian Museum of Trade), Vienna, between 1892 and 1896. Leipzig 1906 - 1908. – Imperial folio format (67 x 51 cm). 25 colour plates. Complete with the text and all the plates. Some pages creased at the margins, stains. A number of loose plates.

  • Two Saka Tapestry Fragments with Dragon Figures

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    • Lot24
    • OriginCentral Asia, Mongolia
    • DimensionsA = 16 x 18 cm, B = 17 x 20 cm
    • AgeC 14 = 760 - 371 BC
    • Estimate EUR7,000 - 9,000

    The political borders of today did not exist in the past, and the peoples that made woollen textiles such as this might have traded and migrated over great distances. It is therefore difficult to suggest a place of origin for this tapestry with its design of two mono-coloured dragons, and it is more appropriate to indicate a possible culture. According to Elena Tsareva, the peoples of the Saka culture who wove similar woollen textiles may well have originated in the area around the upper reaches of the Yeniseysk River, perhaps not far from Lake Baikal in Siberia. This textile was reportedly acquired in western Mongolia. The same technique can be seen on skirts found in the Taklamakan Desert in present-day northwest China. People from the same tribe that wove this beautiful tapestry were possibly also located in the region around Shanpula. The largest number of patterned wool fabrics with similar techniques, colours and patterns have been excavated there. – The first study of Central Asian woollen textiles published outside China was carried out by the Abegg-Stiftung in Riggisberg in 2001: Fabulous Creatures from the Desert Sands accompanied an exhibition dedicated to Shanpula textiles. Several Shanpula-style textiles were also reportedly found in Mongolia, and they appear to be generally earlier than those excavated from sites along the southern Silk Road. The closest example to the Kirchheim tapestry is now in the Cotsen Textile Traces Study Collection in The Textile Museum Washington, DC. – Dragons tend to be associated primarily with ancient China, where they took on both curvilinear and stylised angular forms, but similar mythological creatures were also adopted by other cultures across Asia and later in Europe. (MF)

    Extract from OS 2, no. 1. The carpet is discussed in detail and assessed art historically in that publication.

    Mounted on canvas and attached to a wooden frame, acrylic glass cover.

    Formerly: Rupert Smith, Somersal Herbert; The Textile Gallery, London

    OS 2, no. 1

  • Scythian Camels Tapestry

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    • Lot25
    • OriginPersia ?
    • Dimensions79 x 78 cm
    • AgeC 14 = 487 - 379 BC
    • Estimate EUR450,000 - 550,000

    According to radiocarbon dating performed by ETH Zurich, this small square tapestry woven in the double weft interlocking technique is from the pre-Christian era. Almost completely preserved, it was probably made by members of the Saka Scythian group. The Scythians of Central Asia ruled a vast area for a long period of time. Their huge realm extended as far as the Black Sea coast, where Scythian artefacts, in particular gold and silver works, were discovered during excavations in Crimea. – Woven in just two shades of brown, the simply conceived design consists of eleven camels all facing to the right. One camel standing at the centre of the field is emphasised by its size and a rectangular frame. It is surrounded by a frieze-like arrangement of ten somewhat smaller camels that are identical in drawing, but vary considerably in size. We can only speculate on the meaning of the design and the purpose of the tapestry. Did it serve as a sitting mat, a wall hanging, a saddle cover or perhaps a burial gift? (DM)

    Detailed discussion and art historical appraisal by MF in OS 2, no. 2

    Mounted on canvas and attached to a wooden frame, acrylic glass cover

    Formerly: German private collection (ca. 1930 - 2000), Sam Coad, Bristol and The Textile Gallery, London

    FRANSES, MICHAEL, In the Beginning. In: HALI 200, 2019, ill. p. 142 *** OS 2, no. 2

    • Lot26
    • OriginPersia ?
    • Dimensions57 x 15 cm
    • AgeC 14 = 404 - 209 BC
    • Estimate EUR110,000 - 130,000

    No other ancient textiles, tapestry-woven or otherwise, have yet been discovered that depict birds similar to those seen on this pair of socks. The previous owner reported that they and the Camels tapestry (plate 2) were acquired together in Mongolia over eighty years ago. If they were made in the same location and at the same time, then the overlap in the radiocarbon-dating results might suggest a date of manufacture for both of around 400 BCE. – It is possible that these socks were in the possession of Scythians, whose homeland was in the Altai region but who also inhabited the area to the north of the Black Sea and parts of western Persia. As neither the Camels tapestry nor these socks are similar to any other woollen materials excavated so far in Central Asia, the probability is that they were made elsewhere, perhaps in western Persia (although no similar material has been found there either), and brought back to the Mongolian Altai. A more positive attribution might be possible after analysis of the yellow dye. (MF)

    Extract from OS 2, no. 3. The carpet is discussed in detail and assessed art historically in that publication.

    Formerly: German private collection (ca. 1930 - 2000), Sam Coad, Bristol and The Textile Gallery, London

    FRANSES, MICHAEL, In the Beginning. In: HALI 200, 2019, ill. p. 143 *** OS 2, no. 3

  • Saka Textile Fragment

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    • Lot27
    • OriginCentral Asia, Mongolia
    • Dimensions97 x 37 cm
    • AgeC 14 = 383 - 197 BC
    • Estimate EUR130,000 - 150,000

    According to the results of radiocarbon dating performed by ETH Zurich, this small and long fragment of a tapestry dates from the pre-Christian era and is probably a weaving by the Saka Scythians of Central Asia. It is composed of two sections, the smaller of which is darker in ground colour and may have belonged to a different textile of identical design. White ornaments resembling lilies, each with a long point and a pair of curled hooks, emanate from an equally white surround shaped like an elongated heart. The “hearts” are hermetically interlocked and arranged in rows of changing directions, so the “lilies” are offset and inverted. The brown ground provides a foil for this memorable design which creates a captivating positive-negative effect. It may have had a totemic meaning. (DM)

    Detailed description and art historical appraisal by MF in OS 2, no. 4

    Mounted on canvas and attached to a wooden frame, acrylic glass cover

    Formerly: German private collection (ca. 1930 - 2000), Sam Coad, Bristol and The Textile Gallery, London

    OS 2, no. 4

  • Textile Fragment with Tiger Stripes

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    • Lot28
    • OriginCentral Asia or China
    • Dimensions61 x 39 cm
    • AgeC 14 = 147 - 334
    • Estimate EUR8,000 - 10,000

    This unique small section is an assemblage of a number of fragments from the same carpet. These have been joined rather haphazardly: many are clearly not in their original position and some do not even follow the original direction of pile. The stripes that decorate the fragments might either have formed part of a larger, more complex pattern or have covered the entire rug, but it is likely that they were intended to represent a tiger skin. – This was at first thought to be one of the oldest surviving Chinese carpets. Although recent excavations in western China have uncovered knotted pile carpets from 1350 BCE, some 1,500 years older than this find, it remains an important ‘document’. (MF)

    Extract from OS 2, no. 5. The carpet is discussed in detail and assessed art historically in that publication.

    Mounted on canvas and attached to a wooden frame, acrylic glass cover.

    Formerly: Sam Coad, Bristol, and The Textile Gallery, London

    Exhibited: Cologne, Museum für ostasiatische Kunst, 2005

    MUSEUM FÜR OSTASIATISCHE KUNST KÖLN (publ.), Glanz der Himmelssöhne. Kaiserliche Teppiche aus China 1400 – 1750. London 2005, no. 1, pp. 54 f. *** OS 2, no. 5

  • The "Faces" Rug

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    • Lot29
    • OriginEast Anatolia
    • Dimensions235 x 171 cm
    • AgeC 14 = 1042 - 1218
    • Estimate EUR700,000 - 800,000

    This unique carpet was purchased by the Kirchheims from the former Munich gallery owner Eberhart Herrmann. The detailed description in OS 1 (p. 350), with an interpretation of its enigmatic design that is worth reading, was written by Herrmann. The item is known as the “Faces Rug” on account of the two human faces looking straight at the viewer, each resting on a long column like a capital. – The historic, art historic and ethnological relevance of this piece cannot be overstated. The oldest surviving Anatolian rug from the Islamic period, it may have been woven as early as two hundred years before the Seljuk carpets and is much older than the Marby carpet in Stockholm or the dragon and phoenix rug in the Berlin museum, to name just a few famous examples. The Faces Rug takes us back to the period between 1050 - 1200. It probably already existed at the time the crusaders set out for the Holy Land and conquered Jerusalem in 1099. Scholars now agree that the carpet was woven by Kurds in East Anatolia. This is suggested not only by the style of the field design, but also by the technique using offset knots. All relevant background information has been compiled by Michael Franses in his discussion. (DM)

    Detailed discussion and art historical appraisal by MF in OS 2, no. 6

    Mounted on canvas and attached to a wooden frame

    Formerly: Fred Cagan, Kathmandu; Lisbet Holmes, London; Eberhart Herrmann, Munich

    Exhibited: Hamburg, Deichtorhallen, 1993; Stuttgart, Linden-Museum, 1993; Osaka, National Museum of Ethnology, 1994; Mönchengladbach, Museum Schloss Rheydt, 1995; Istanbul, Museum of Turkish and Islamic Arts, 1996.

    HERRMANN, EBERHART, Asiatische Teppich- und Textilkunst 4. Munich 1992, no. 1 *** OS 1, no. 218 *** TOH, SUGIMURA (ed.), Jutan. Woven Flowers of the Silk Road. Exhibition cat. National Museum of Ethnology Osaka. Tokyo 1994, no. 55, p. 76 *** ÖLÇER, NAZAN, et al. Turkish Carpets from the 13th – 18th Centuries. Istanbul pl. 14 *** BURNS, JAMES D., Antique Rugs of Kurdistan. London 2002, pl. 27 *** Franses, Michael, A Little More Light on Early Animal Carpets. In: God is Beautiful and Loves Beauty. The Object in Islamic Art and Culture. New Haven and London, 2013, pl. 237, p. 255 *** OS 2, no. 6

  • The "Potala" Rug Fragment

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    • Lot30
    • OriginAnatolia
    • Dimensions43 x 73 cm
    • AgeC 14 = 1189 – 1283
    • Estimate EUR80,000 - 100,000

    The Seljuk-period carpets are considered National Treasures of Turkey and represent the greatest surviving examples of their art form. Over the past fifty years, the Turkish authorities have scoured every mosque in Anatolia, and while a few 15th- and 16th-century carpets have been discovered, no others have been found that can be attributed with any confidence to the 13th century. Consequently, the chances of an unknown example coming to light are extremely slight and it seems almost unbelievable that the Kirchheims managed to acquire a previously unknown section of a carpet that is similar to, and possibly from the same looms as some of the Seljuk-period carpets. It was one of several well-preserved carpets discovered in Tibet, and was reportedly removed from the Potala Palace in Lhasa by Chinese guards who were clearing out the basements of the Palace. The Potala fragment is so closely related in weave, wool and colours to the Seljuk-period carpets that it is hard to believe it was not made by the same people and at the same time. – On the surviving section of the Potala carpet are two red-ground compartments (one complete, the other only partial) surrounded by a border in what is termed a ‘Kufic’ style in red, outlined in ivory, on a light green ground. Each compartment is enclosed by a brown-ground minor border with large alternating 'S' and 'Z' motifs in several colours. In both of the compartments are small, boldly drawn swastika-like motifs. In the complete compartment these motifs appear to float up and out of the compartment like balloons through the clouds. It is impossible to say what the complete design must have looked like, as there are no comparative works. Nor do we know whether what we now see as the outer border was in fact the principal border of the full carpet, or perhaps there was originally a wider border surrounding it. (MF)

    Extract from OS 2, no. 7. The carpet is comprehensively discussed and assessed art historically in that publication.

    Mounted on canvas and attached to a wooden frame

    Formerly: Potala Palace, Lhasa; Jeremy Pine, Kathmandu

    Exhibited: Hamburg, Deichtorhallen, 1993; Stuttgart, Linden-Museum, 1993; Mönchengladbach, Museum Schloss Rheydt, 1995

    OS 1, no. 185 *** HALI 71, 1993, ill. p. 128 *** HALI 100, 1998, ill. p. 128 *** OS 2, no. 7