Major Spring Auction

Saturday 29. May 2021 at 3 p.m.

117 Lots
Exchange rate
0.858 GBP1 Euro
1.214 USD1 Euro
    • Lot69
    • OriginCentral Asia, South Tibet
    • Dimensions167 x 86 cm
    • AgeFirst quarter 20th century
    • Result EUR18,600
    This expressive graphic Tibetan rug features an abstract repeat of wide, wave-like, blue-black tiger stripes arranged in offset rows on the brilliant orange ground; it belongs to the borderless type. - In Tibet, the mystical tiger rugs were considered symbols of power. Their use was reserved to a small group of high-ranking dignitaries. These tiger rugs were not exported to western countries before 1979. From then on, some 200 examples left the country in the wake of political and social upheavals. The group became widely known through a monograph published by Mimi Lipton. – Slight discolouration, very good overall condition, with the pile at its original height and the original finishes all around. Backed with a fabric tape at the upper and lower ends.

    LIPTON, MIMI, The Tiger Rugs of Tibet. London 1988, nos. 11, 12 and 29

    • Lot70
    • OriginCentral Asia, middle Amu Darya valley
    • Dimensions192 x 119 cm
    • AgeEarly 19th century
    • Result EUR24,800
    This white-ground Beshir has survived in an old Austrian collection. The field is dominated by eight large palmettes arranged in offset rows. Their sprawling sickle-shaped leaves are reminiscent of headdresses worn by harlequins. The same delicately drawn pomegranate trees that also occur in Beshir prayer rugs are placed between them. The light red border is decorated with fan-shaped blossoms as well as a number of shrubs in the horizontal bands. The way the vertical borders are expanded in the corners is a very rare feature. – In the absence of any immediate parallels in specialist literature, this rug is obviously a one-off. Similar palmettes are encountered in a Beshir prayer rug sold by Christie's in 2013 and in a larger, chequerboard design Beshir published by Reuben. Unlike the rugs of other Turkmen tribes who adhered to their time-honoured designs, those of the Ersari Beshir group often display outside influences and use designs that are not originally Turkmen, for instance motifs from Khorasan. The shape of the huge palmettes brings to mind similar motifs in Uzbek suzanis attributed to the Lakai (see example below). – Signs of age and wear, stitched tears in the lower left area; the outer border is missing along the vertical sides.

    CHRISTIE'S London, auction of 8 October 2013, lot 72 *** REUBEN, DAVID M., Gols and Guls II. London 2001, no. 14 *** HERRMANN, EBERHART, Asiatische Teppich- und Textilkunst 2. Munich 1990, no. 66 (example of a suzani) ***

  • Yomut Jolami Fragment

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    • Lot71
    • OriginCentral Asia, West Turkestan
    • Dimensions212 x 31 cm
    • AgeMid 19th century or older
    • Result EUR2,232
    A section of a tent band originally very much longer (ca. ten to twelve metres), with piled kibitka designs on a white wool warp-faced plainweave ground. The unusual motifs drawn with a confident sense of style and the distinct patina suggest that this is probably a fairly old band. – Signs of age and wear.
  • Shahsavan Bag Face

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    • Lot72
    • OriginNorth West Persia, Kurdistan
    • Dimensions54 x 59 cm
    • AgeMid 19th century
    • Result EUR589
    A bag face finely woven in the sumakh technique, originally part of a khorjin. It was made by the Khamseh Shahsavan in the area between Bijar and Mianeh. The field design consists of three white-ground horizontal bands with narrow red borders. The red octagon with two facing abstract birds in the wide central band is an identifying feature of this particular design group. Two yellow trees are depicted on a dark blue ground both on its left and right. Syrga bird motifs lined up on a pole adorn the two narrower bands. A complete khorjin has been published by Tanavoli. – New overcasting along the sides, remains of the red kilim finishes survive at the top and bottom, good condition.

    TANAVOLI, PARVIZ, Shahsavan. Flachgewebe aus dem Iran. Herford 1985, no. 229 *** FRAUENKNECHT, BERTRAM, Schahsavan Sumakh Taschen. Fürth 1993, ill. 57 *** WERTIME, JOHN T., Sumak Bags of Northwest Persia & Transcaucasia. London 1998, no. 22

  • Tekke Chuval Fragment

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    • Lot73
    • OriginCentral Asia, West Turkestan
    • Dimensions68 x 96 cm
    • AgeFirst half 19th century
    • Result EUR645
    Very fine in weave, this early fragmented Tekke chuval has a design strongly influenced by Salor models. The field contains three complete primary güls with aina gochak centres and six halved ones cut by the border. The large secondary güls are stepped polygons composed of eight stars encircling an aina gochak centre. Small dark blue and dark green trees are arranged in diagonal rows in the elem. – Cut all around, signs of age and wear.

    PINNER, ROBERT & EILAND, MURRAY L. Jr., Between the Black Desert and the Red. Turkmen Carpets from the Wiedersperg Collection. San Francisco 1999, pl. 19

  • Yomut Ensi

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    • Lot74
    • OriginCentral Asia, West Turkestan
    • Dimensions165 x 146 cm
    • AgeSecond half 19th century
    • Result EUR2,838
    This ensi woven in light colours is wider than most Yomut door rugs, and the brightly coloured tree forms in the two-panel elem are another striking feature. The effect of the flowering trees is particularly stunning against the midnight blue ground of the lower horizontal panel. The four segments of the field around the central hatchlu cross are decorated with widely spaced pekvesh blossoms. – Signs of age and wear, uniformly low pile. The kilim ends survive at the top and bottom, new overcasting along the sides.

    EILAND, MURRAY L., Oriental Rugs From Pacific Collections. San Francisco 1990, no. 126 a, p. 146

  • Karadashli Torba

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    • Lot76
    • OriginCentral Asia, West Turkestan
    • Dimensions39 x 112 cm
    • AgeMid 19th century
    • Result EUR1,240
    Nine flat chuval güls and chemche secondary güls fill the brown-red field. The border is composed of small rectangular compartments in changing ground colours which each enclose a flower. An undecorated band all around widens into the elem at the bottom. – Slight signs of age and wear, somewhat reduced at the bottom.

    TSAREVA, ELENA, Turkmen Carpets. The Hoffmeister Collection. Stuttgart 2011, no. 82

  • Bokhara Suzani

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    • Lot77
    • OriginCentral Asia, South West Uzbekistan
    • Dimensions229 x 152 cm
    • AgeFirst half 19th century
    • Result EUR6,200
    In this gorgeous five-panel Bokhara suzani, the blossoms and leaves are embroidered in the basma stitch, while the golden surrounds and the delicate golden stems are in the ilmoq stitch. The shimmering silk yarn lends the colours a gem-like brilliance. In the field, a diamond lattice composed of serrated green leaves encloses floral wreaths encircling a central blossom. The contrast between the field and main border is sharper than usual. This is largely due to the elongated green leaves attached to every second circular blossom. They remarkably enhance the impact of the border design. The secondary borders are not separated by dividing lines, so they seem to merge with the main border and the field. – Very good condition, backed with linen.
  • Bokhara Suzani

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    • Lot78
    • OriginCentral Asia, Uzbekistan
    • Dimensions217 x 149 cm
    • AgeFirst half 19th century
    • Result EUR8,060
    In this Bokhara suzani with a six-panel foundation, the large areas are embroidered in the basma technique while the outlines are in the ilmoq technique. A diamond lattice of green leaves with strikingly curled tips adorns the field. The interior drawing of the compartments varies from one row to the next. Either a large blossoms is surrounded by a wreath of smaller blossoms, or a small blossom lies at the centre of a diamond decorated with blossoms and leaves. The blue irises only occur in the compartments with a wreath design. In the wide border, the same motif of two semi-circles and four fan-shaped blossoms attached to green diagonal stems is repeated 21 times. – Slight signs of age and wear, minor stains, good overall condition. Backed with a red fabric.
  • Kashmir Shawl Fragment

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    • Lot79
    • OriginNorth India, Kashmir
    • Dimensions226 x 140 cm
    • AgeMid 19th century
    • Result EUR1,860
    This fragmented shawl woven from the finest Kashmir wool (premium goat hair) belongs to the same type as a completely preserved example published by Lévi-Strauss and a further cloth in the Poppmeier Collection. The composition of the very minutely and meticulously drawn design used to be arranged around an open black field at the centre, which was probably badly damaged and thus removed. The horizontal cut runs across the entire width in a dead straight line, so the length is reduced by approximately one metre. This shawl type featuring oversized botehs in the wide end panels is known as "palledar”. Judging by the style of drawing and colourful harlequin finishes, the cloth can be dated to the 1850 period. It was produced for export to Europe or North America. - Minimal damage, very good overall condition.

    LÉVI-STRAUSS, MONIQUE, Cashmere. Tradition einer Textilkunst. Berlin 1986, ill. p. 92 *** RIPPON BOSWELL, A 95, Poppmeier Collection II, 23 March 2019, lot 67