Major Spring Auction

Saturday 28. May 2022 at 3 p.m.

252 Lots

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Chichi
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- 141
- East Caucasus, Kuba-Shirvan
- 199 x 127 cm
- mid 19th century
- 7,000 - 9,000
This classic Chichi displays the repeat of geometric and floral designs arranged in horizontal rows that is typical of the provenance as well as the characteristic extra-wide border, here composed of five bands. A similar Chichi was rated ”about forty years old” by Ellwanger as early as 1903, providing a clue to the date of this example. A fine weave, lustrous pile, very beautiful colours. – The two right-hand corners have been restored and the selvedges partially replaced, corroded brown. Very good overall condition with a high pile.

Literature:
ELLWANGER, W. D., The Oriental Rug. New York 1903, pl. 5 *** GROTE-HASENBALG, WERNER, Der Orientteppich. Seine Geschichte und seine Kultur. Berlin 1922, volume II, pl. 31
Caucasian Shadda
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- 142
- South East Caucasus, Baku
- 196 x 138 cm
- late 19th century
- 6,000 - 7,500
These decorative covers featuring mythological designs used to be known as animal verneh. Now they are called shadda (the Persian word for "blanket") or zili (based on their weaving technique). The designs are finely woven in the sumakh technique on a foundation with an alternately inky blue or red ground. This systematic change of colour in the compartments is a characteristic feature. The compartments and panels are framed by narrow white borders and contain large birds resembling peacocks, smaller birds and blossoming trees with mighty crowns that are drawn in the typically geometric style of the Caucasus. – For a long time, the question of where and by whom these covers were woven was a matter of controversy. Older literature assumed a provenance in the Shirvan or Akstafa regions, and later the covers were attributed to the Moghan Shahsavan. Now it is certain that they are weavings by the Tat tribe who lived in the Absheron Peninsula. With reference to the piece in the Baku Museum of Folk Art (no. 1134), Kerimov states: “Sileh woven rug, from Khizy village, Absheron, Azerbaijan“. Wertime and Wright call their example a "Baku Zili". – Very good condition.

Literature:
THOMPSON, JON, Carpet Magic. London 1983, p. 98 *** KERIMOW, LJATIF, et al., Kaukasische Teppiche. Leningrad 1984, no. 2 *** WRIGHT, RICHARD & WERTIME, JOHN, Caucasian Carpets & Covers. London 1995, pl. VII *** LANDREAU, ANTHONY N. & PICKERING, W. R., From the Bosporus to Samarkand. Flat-Woven Rugs. Washington, D.C. 1969, ill. p. 95 *** VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim und andere Flachgewebe. Munich 1996, no. 25 = RIPPON BOSWELL, A 88, Vok Collection Selection 2, 16 March 2016, lot 126
Karabagh
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- 143
- South Caucasus, Azerbaijan
- 223 x 120 cm
- late 19th century
- 1,700 - 2,000
Slight signs of age and wear, somewhat reduced ends, good overall condition, the original selvedges survive.
Azeri Shadda
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- 144
- South Caucasus, Azerbaijan
- 213 x 168 cm
- second half 19th century
- 1,500 - 2,000
A two-panel tabby cover woven on red and dark blue warps which are netted at the ends. Except for a number of small decorative motifs added in the brocading technique, the red field and blue lateral sections are empty spaces, enhancing the strong contrast between the primary colours. Very finely woven from the best wool, this shadda is an example of exceptional quality. – Very good condition.

Literature:
WILLBORG, PETER, & ALBERTSON, INGEMAR, Woven Magic. Stockholm 1992, no. 61
Kazak
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- 145
- South West Caucasus
- 268 x 124 cm
- second half 19th century
- 3,000 - 4,000
A rare Kazak woven in an elongated format. As in Talish rugs, the blazing red met hane field is separated from the three-band border by a narrow surround of reciprocal trefoils. Large crossed double hooks with a horizontal bar adorn the white main border; they may be abstract animals. – Slight signs of age and wear, good overall condition, the original two-tone selvedges survive.
Tuduc Prayer Rug
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- 146
- Eastern Europe, Romania
- 168 x 113 cm
- ca. 1925 - 1940
- 3,500 - 4,200
A copy of a prayer rug of the Transylvanian type, with an open red field beneath an arcade of three arches supported by four thin white columns. The central niche is distinctly larger than the two niches at the sides. The carnations suspended from the apexes of the niches have been adapted in scale to the format of their respective niches. The wide light green panel above them is decorated with six lancet leaves and a variety of blossoms. The red-ground border contains large cartouches enclosing a shield decorated with lateral hooks. – The rug was probably woven in Teodor Tuduc’s workshop in Săcele (near Brasov/Kronstadt) and is a deliberate forgery of an antique original. It reflects a combination of motifs, which do not occur in any known example. In fact, Tuduc was proud to create new models. The rug has the hallmarks of the forgeries made in Romania, between the two WW: dull colours probably synthetic, hard wool (not Anatolian), the somewhat lifeless drawing, unusual palette, absence of “lazy lines” in the foundation, abraded surface. The columns look "hospital white", which is not possible in a 300 years old piece. - At the time, Tuduc was very active as a restorer working for the Protestant parishes of Transylvania or private collectors and had good knowledge of the large body of surviving antique originals in Romania and Hungary. In the rugs that he faked he used traditional compositions and designs. Sometimes he put these in a new context so as to create the impression of a particularly rare piece. – The antique examples featuring three niches almost always show double columns and borders with floral cartouches. One exception is the three-niche prayer rug formerly owned by Count Gyula Andrássy, which has four single columns but likewise shows floral cartouches in the main border. The Andrássy carpet may have served as a model for Tuduc. However, he added a different type of cartouche enclosing a palmette with hooks that he also used in other forgeries with three niches and double columns (see Ionescu, pp. 84 and 85). – Uniformly low pile, several re-piled areas, cut sides, replaced selvedges, somewhat reduced ends.

Literature:
IONESCU, STEFANO, Handbook of Fakes by Tuduc. Rome 2010, ills. pp. 85 and 85 *** IONESCU, STEFANO (ed.), Die osmanischen Teppiche in Siebenbürgen. Rome 2006, cat. 214, p. 168
Tekke Ensi
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- 147
- Central Asia, West Turkestan
- 137 x 126 cm
- second half 19th century
- 1,500 - 1,800
New overcasting along the sides, a remnant of the kilim finish survives at both ends, the pile is preserved at its full height.
Milas Prayer Rug
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- 148
- South West Anatolia
- 165 x 110 cm
- mid 19th century
- 1,800 - 2,400
The bizarre composition of a tower-like prayer field in varying ground colours and a potpourri of designs from different periods of Anatolian weaving is a characteristic feature of the style which prevailed during the reign of Sultan Abdul Mecid (1839 – 1861), also known as “Turkish baroque". – Uniformly low pile, original selvedges, both ends somewhat reduced.

Literature:
BENSOUSSAN, PAMELA, Melas Rugs from Asia Minor. In: HALI 5, 2. London 1982, pl. V +++ YOHE, RALPH S / McCOY JONES, H., Turkish Rugs. Washington, D. C. 1968, no. 60
Yomut Ok Bash
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- 149
- Central Asia, West Turkestan
- 68 x 28 cm
- second half 19th century
- 700 - 900
Known as "ok bash" and usually pile-woven, these sheaths were drawn over the ends of tent pole bundles when the Turkmen departed for their migrations and loaded the poles on their camels. The sheaths not only held the poles firmly in place, but also prevented possible injury from their pointed ends to the camel that followed behind. – The seams along the sides are undone, good condition.

Literature:
ENGELHARDT, EVA, Orientteppiche der Sonderklasse. Sammlerexemplare aus dem alten Rußland. Heidelberg 1990, ill. p. 15
Karadashli Chuval
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- 150
- Central Asia, West Turkestan
- 80 x 106 cm
- first half 19th century
- 1,800 - 2,300
The red-brown field contains twelve small primary güls and cruciform secondary designs. The ornamentation of the main border – small rectangular compartments in white and red-brown enclosing a flower – is typical of the tribe. The wide elem is undecorated. – Signs of age and wear, low pile, both sides somewhat reduced, missing back. Provenance: Estate of George F. Gilmore

Literature:
LANGAUER, UDO, Turkmen Collection 2011. Vienna 2011, ill. p. 61