Page 175 - ART OF THE ISLAMIC AND INDIAN WORLDS Carpets, Ceramics Objects, Christie's London Oct..27, 2022

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AN AZERBAIJAN EMBROIDERED PANEL
SOUTH CAUCASUS, LATE 18TH CENTURY
Darned silk on a linen ground, heavy corrosion within the black and ivory dyes
with associated loss, backed
3ft.5in. x 3ft.3in. (104 x 99cm.)
£3,000-5,000 US$3,500-5,700
€3,500-5,700
The present lot is part of the well-documented group of ‘Caucasian’
embroideries which are commonly attributed to Azerbaijan. These textiles
are most frequently dated between the 17th and 18th centuries and exhibit
harmonious colouring and variety of design. It is clear that the influences
behind the designs found within the group is both varied and wide, the
medallion and cartouche arrangement found in our embroidery is said to
have originated in Safavid tile patterns such as those seen in the Friday
Mosque, Isfahan (Christine Klose, 'The Transformation of Rug Designs', HALI,
vol.4 no.4, p.351).
According to Jennifer Wearden’s seminal article, ‘A Synthesis of Contrasts’,
the present lot would fall into her third group of embroideries; those that have
been surface darned on the diagonal (HALI, Issue 59, pp.102-111). The typical
palette of our example is embroidered in finely-spun silk with black cross and
running stitch outlining, for which the net-like ground structure provides a
contrasting effect. This finely worked embroidery, is very similar in technique
and pattern to an Armenian embroidery signed and dated; "In memory of
Khazaz Seropian from the Monastery of Saint Garabed, Erzincan, 1778", in
152
the Victoria and Albert Museum, London, inv.no. T.272-1913, published by
Weardon inv.no. 45-1889 (J. Weardon, op. cit., no.15, p.109). Whereas that
example uses the more commonly found repeating geometric pattern, the
medallion and cartouche design of the present lot clearly derives from a
16th/17th century embroidery in the Orient Stars Collection (E. Heinrich
Kirchheim et al., Orient Stars, a Carpet Collection, Stuttgart & London, 1993,
pl.45, p.72).
Other closely related examples with similar technique, coloring and pattern
are published by Eberhart Hermann, Asiatische Teppich und Textilkunst, vol. 1,
Munich, 1989, pl. 20 and from the Collection of Eugene Chesrow, Sotheby’s
New York, 31 January 2004, lot 12.

VARIOUS PROPERTIES
150 151
*153
A SUZANI
UZBEKISTAN, BUKHARA, FIRST HALF 19TH CENTURY
Of rectangular form, the beige ground densely embroidered with polychrome
rosettes and flower heads issuing from a central vine, woven in the five panels
150 151
7ft.7in. x 4ft.11in. (232 x 150cm.)
AN OTTOMAN EMBROIDERED PANEL AN OTTOMAN EMBROIDERED PANEL
TURKEY, 16TH/17TH CENTURY TURKEY, 17TH CENTURY £8,000-12,000 US$9,200-14,000
€9,200-14,000
Composed of three panels, the cream field embroidered with four complete Consisting of three panels, the cotton field with scattered floral motifs, with
columns of ascending floral sprays seperated by scrolling tendrils, in a border five rows of alternating rust red and indigo palmettes, the border with smaller Suzani, literally meaning "of needle" in Persian, refers to some of the most
of a scrolling floriated vine, with light staining, with a small 'v' stamped in one alternating palmettes in similar colours, some corrosion and repairs attractive inventions of Turkestan's traditional culture. Created by the women
corner 6ft.8in. x 4ft. (204 x 123cm.) in what is today Uzbekistan and Tajikistan, suzanis were meant to embellish
6ft.11in. x 4ft.5in. (210 x 135cm.)
£6,000-8,000 US$6,900-9,100 the interiors of homes and are found mostly in settled communities rather
£8,000-12,000 US$9,200-14,000 €6,900-9,100 than tribal societies. They formed a vital part of a bride's dowry, and as
€9,200-14,000 such demonstrated a family's status. The communal task was begun by a
The tulip heads and wild roses on the present lot can all be found on Iznik professional draftswoman (kalamkesh) drawing the design on four to six
There is a left-hand panel, reduced in length, from a textile with a similar pottery, while the thistle-like artichoke heads are more unique to this loosely joined strips of homespun cotton. The lengths were then separated
pattern of serrated vines alternating with ascending floral columns in the medium. A similar example is published in Embroidered Flowers, London, and embroidered by the bride's relatives. Once finished, the strips were sewn
Victoria & Albert Museum (Marianne Ellis and Jennifer Wearden, Ottoman 1981, fig. 4. together, a process that accounts for the common irregularities along the
Embroidery, London, 2001, p. 34). For more information on Ottoman seams, and colour variations in connecting strips. Our suzani exemplifies the
embroidery, see previous lot.
features often associated with Bukhara suzanis. Typically, the rosettes and
palmettes are strongly articulated in the border while the field's stems and
scrolls are remarkably delicate. The finely worked chain stitching, combined
with the rich and sensitive use of colour, summon up the appeal of a fine
Bukhara piece. A recent example of a Bukhara Suzani sold at Sotheby’s
London, 31 March 2021, lot 183. 153
172 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty
fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.