Auction A 88 on Saturday, 12th March 2016

Lot numbers 89 – 176, 88 Lots
Exchange rate
0.776 GBP1 Euro
1.109 USD1 Euro
  • Luri or Qashqa’i Kilim

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    • Lot174
    • OriginSouth West Persia, Fars province
    • Dimensions265 x 200 cm
    • Ageearly 20th century
    • Result EUR20,740
    VOK Collection, Caucasus – Persia 107

    This highly unusual kilim composed of two panels defies attribution to any of the usual categories. Lacking any comparative examples in literature, it may be a one-off. The effect of the abstract design derives entirely from the sharp contrast between the large, red and white plain colour sections. Except for five small white designs which seem to have been randomly scattered in the left-hand panel and an even smaller single motif on the right, the blood-red field with distinct abrash in several places is empty. It radiates an almost overwhelming energy which is somehow contained by the white surround, but breaks through at the top left. – A provenance in Fars province appears certain on account of the design bands containing brocaded "domino" motifs at both ends as well as the style of the stepped outlines separating the field and border. Attribution to a particular tribe is difficult. The kilim is assumed to be either a Luri or a Qashqa’i weaving. Two-panel kilims are rare exceptions in Fars. The design of the two halves does not match exactly, suggesting that the weaver was faced with an unfamiliar task. The slight orange discolouration seen in two of the white sections is due to the use of orange warps at the centre of the kilim. – Signs of age and wear, minimal damage to the ends, otherwise in good condition.

    VOK, IGNAZIO, Vok Collection. Caucasus-Persia. Gilim and other Flatweaves. (Text by Hamid Sadighi) Munich 1996, no. 107 *** TANAVOLI, PARVIZ, Persian Flatweaves. Woodbridge 2002, pl. 154 *** SADIGHI NEIRIZ, HAMID & HAWKES, KARIN, Kelims und andere Flachgewebe aus der Sammlung Neiriz. Calbe, undated (2014), no. 153

    • Lot175
    • Originsouthern Central Anatolia
    • Dimensions162 x 108 cm
    • Agemid 19th century
    • Result EUR4,880
    VOK Collection, Anatolia 9

    There is evidence of human settlements in the Karaman region dating back as far as the Mesolithic Age, beginning ca. 8000 BC. Kilims have probably been woven in the area for a long time. According to Hirsch, this niche design kilim served as a wall hanging, so this is not a prayer rug. Within its triple surround, the red mihrab beneath the roof-like arch has four serrated diamonds stacked vertically along the central axis. Accompanied by small white double arrow motifs, they draw the ascending movement upwards almost like a slipstream. Another large open-topped design is placed above the apex of the arch and cut by the horizontal border. The border consists of opposing house-like shapes in diverse colours with hatched outlines, separated by a white serrated band. Further hatching is seen along the inner side of the blue mihrab surround. The small kilim radiates vigour and energy; its composition appears compact, and the colours are of high quality. We feel that Hirsch’s date, "about 1900", is too conservative. – Original sides, both ends reduced, otherwise in good condition. Mounted onto canvas.

    HULL, ALASTAIR & LUCZYC-WYHOWSKA, JOSE, Kilim. The Complete Guide. London 1993, no. 323

    VOK, IGNAZIO, Vok Collection. Anatolia. Kilims and other Flatweaves from Anatolia. (Text by Udo Hirsch) Munich 1997, no. 9

    • Lot176
    • OriginCentral Asia, North East Uzbekistan
    • Dimensions270 x 238 cm
    • Agemid 19th century
    • Result EUR14,640
    VOK Collection, Suzani 1, 3

    Composed of seven panels, this nearly square suzani was made in Pskent, a city in north eastern Uzbekistan that once belonged to the Emirate of Kokand. The embroideries produced there are Uzbek pieces. The perfectly drawn, large-scale design and the intensely luminous colours make this one of the most outstanding Pskent examples we know. The only immediately comparable piece is another gold-ground example formerly owned by the Textile Gallery, London. – The ground is completely embroidered in the basma technique. Characteristic of the provenance, the design is known as "oi paliak" (moon sky) and probably carries astrological significance. The moon, sun and stars illuminate an imaginary firmament. In this item, six huge, purple-red circular blossoms are arranged discretely, i.e. without points of contact, on a golden yellow ground embellished with delicately drawn carnations, tulips, anemones and small botehs. Sickle-shaped petrol leaves are interspersed between them. Eight smaller purple-red circular blossoms without any interior drawing and four analogous blossoms shaped to fit their purpose as corner motifs constitute a secondary design. Various details are embroidered in vermilion wool yarn. Thin diagonal twigs are widely spaced in the narrow border which is embroidered in just three dark colours and thus very inconspicuous. – Minimal signs of age, very good overall condition. Backed with a white cotton fabric.

    THE TEXTILE GALLERY, Suni. Embroidered Flowers of Central Asia – The Textile Art of Uzbekistan. Internet Catalogue of the Textile Gallery. London 1997, no. 50 *** GRUBE, ERNST J., Keshte. Central Asian Embroideries. The Marshall and Marilyn R. Wolf Collection. New York 2003, no. 28

    VOK, IGNAZIO, Vok Collection. Suzani. A Textile Art from Central Asia. (Text by Jakob Taube) Munich 1994, no. 3