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ZINNIAS ORIGINAL PAINTED TEXTILE DESIGN (VFOTNB-123)

France, c.1920s Gouache on paper 14” high x 12.5” wide (without the gray edge) The paint has rubbed off in areas, but is stable and not flaking This pattern probably would have been printed on cotton cloth and used for home furnishings, e.g. curtains, duvets, etc. The bottom image shows how the painting would look if framed with an oval mat.

Price: $125.00

ZARDEVOR (ATSSC-113) - South Uzbekistan, dated 1981

26” x 125” Silk couching stitch hand embroidery Machine-embroidered black cotton trim Unlined Very good condition except for a few scattered stains on the ground cloth (see last two photos); embroidery all intact; no fading or color runs Illustrated in SILK and COTTON pages 202-203 A “zardevor” was a long narrow embroidery that hung just below the ceiling of an important room and served as a sort of frieze along one or more walls. Often it was embroidered with words of good wishes. The Uzbek words on this piece loosely translate as “Friendship is eternal – Gulnora Karomat – 1981 – May the friendship of our hearts stay as pure as a spring.”

Price: $275.00

WORKS of ART from BENIN Catalogue (RVB-109)

The Property of a European Private Collector Sotheby Parke Bernet & Co., London Auction, June 16th, 1980 10.5” x 7.5” Hardcover with dust jacket (title on dust jacket embossed in gold). 67 pages; 24 lots; 10 color plates; 23 black & white photos. Estimate sheet included. Corners bumped, otherwise in very good condition with no markings. Top plate: “Bronze Memorial Head of an Oba”, 1st half 14th century. Bottom plate: “Plaque of a Chief”, 2nd half 16th century

Price: $35.00

WOMAN’S PRINTED TROUSERS (ATRSC-161) - Uzbekistan, c.1980s-90s

38” length; 7" cuff openings Printed silk satin with cotton boll and ikat pattern Unlined Drawstring top needs an elastic or ribbon insert Excellent condition – no stains, color runs, fading, or damage Illustrated in SILK and COTTON page 99 Under their dresses, women wore long loose-fitting trousers called “lozim” (Uzbek), or “shalwars” (Tajik) with a drawstring top that rested on the hips. The upper part was usually made with a less expensive fabric. The narrow cuffs were often embellished with embroidery or some kind of fancy trimming. Traditionally, these trousers were worn from childhood through old age. During the latter decades of the Soviet era, young women began to forgo wearing trousers underneath their dresses, like these stylish young ladies from an Uzbek fashion magazine of 1975. The printed fabric of these trousers is an interesting combination of traditional ikat motifs with cotton bolls.

Price: $50.00

WOMAN’S JELAK (ATRNB-207) - South Uzbekistan, second quarter 20th century

35” length x 30” width (closed) Silk hand-embroidery (cross-stitch and laid stitch) on handwoven cotton with narrow dark blue (faded to grey) stripes; embroidered stylized tulips Unlined Silk woven and embroidered trimming applied along edge Silk fringe and three pearl buttons Good condition While similar in appearance to a woman’s paranja, a jelak was much shorter and never meant to conceal. It was worn on top of a rural woman’s headdress and draped like a shawl over the head and shoulders, with the false sleeves hanging in back (see first and third photos). The hem was deliberately left unfinished in the belief that by so doing a woman could bear many children. SOLD

Price: $0.00

WOMAN’S HEADBAND (ATBBRSC-111) - Bukhara, Uzbekistan. 2nd half 20th century

4.25” x 56” Metallic gold and silver hand-embroidery with spangles and glass beads Black and rose silk velvet inserts Silk jacquard backing and ties Very good condition; small area of damage to edge of silk jacquard Illustrated in SILK and COTTON page112 Gold embroidered headbands called “peshanaband” were favored by the ladies of Bukhara.

Price: $50.00

WOMAN'S SILK BROCADE ROBE (ATRSC-213) - Uzbekistan, third quarter 19th century

50” (shoulder to hem); 65” (cuff to cuff); 21.5” (sleeve length) Factory-woven silk brocade (probably imported from Kashgar – called Chinese Turkestan at the time) Russian block-printed cotton lining Finely handwoven Uzbek silk bekasab facings Loop-manipulation handwoven trim Fair to good condition – areas of discoloration in the brocade; two damaged areas in lining (see detail photos). Otherwise all fabrics are strong. Illustrated in SILK and COTTON, page 73 Imported silk brocade was an expensive fabric that only the well-to-do could afford to wear. It was usually imported from Russia or the region of western China then known as Chinese Turkestan. This robe was made from silk brocade probably woven in Kashgar. The Russian block-printed paisley cloth is a beautiful example, produced at a time when some Russian mills were still using wooden blocks, while more modernized mills had switched to copper roller-printing. The green is a vivid as the day it was printed (it often faded away in sunlight) and was achieved by over-printing yellow on blue. The faint outlines of the blocks can be seen.

Price: $300.00

WOMAN'S PARANJA (ATRNB-225) - Uzbekistan, 2nd quarter 20th century

50” length shoulder to hem; 43” length of false sleeves Silk hand-embroidery on silk taffeta Fully lined with printed cotton fabrics Trim is hand-embroidered with tiny cross-stitches Excellent condition - only one small stain on the lining (see last image) The paranja was a cape-like garment with long false sleeves that were fastened together and hung down the length of the back. Draped over a woman’s head, it was designed to envelop her completely. Most paranjas were made from “banoras” - a handwoven, silk warp/cotton weft cloth with narrow black pin stripes on a dark green, blue, or gray ground. Except for any embellishments such as tassels and embroidery, the overall look was rather drab. This elegant paranja is the exception. Made of lustrous taffeta that appears both mauve and bronze depending on the light, it was no doubt worn by a well-to-do woman on special occasions. While the outside of the paranja usually presented a rather plain face to the world, the inside was often lined with imported Russian printed cotton. The variety of patterns seemed endless, and often they were strikingly beautiful – seen only by the woman who wore them. The body of this paranja is lined with a traditional paisley print. However the wide facing material is unusual – the pattern was obviously inspired by a Japanese design. The archival photograph was taken around 1910 and shows an Uzbek woman posing for the camera in her paranja with her horsehair face veil thrown back over her head.

Price: $350.00

WOMAN'S JELAK (ATRSC-215) - Uzbekistan, circa 1960s-70s

Samarkand region, Uzbekistan 32.5” length – shoulder to hem (not including false sleeves) Silk atlas ikat Silk multi-colored cross-stitch hand-embroidery Black machine-embroidery Metal spangles; pearl, glass & plastic buttons; tiny glass beads Hand-braided trim on false sleeves; cotton tassels Lined with printed cotton Excellent condition Illustrated in SILK and COTTON page 88 Very short capelike jelaks such as this date from around the 1960s -70s and were popular in the rural areas around Samarkand. Like their longer jelak cousins, these were worn by Tajik women as headdresses, with the long false sleeves joined behind. Ikat, both woven and printed, and solid red cloth were the preferred materials. They were usually ornamented with many pearl or white glass buttons, braid, tassels, and cross-stitching. This is a particularly beautiful example with lots of fine details and a striking rose-strewn lining. Most jelaks are not fully lined. SOLD

Price: $0.00

WALL HANGING (ATBBTHNB-171) - Uzbekistan, mid-20th century with 19th century ikat

19” x 19” (not including 2.5” dark green cotton fringe) All cotton except for adras (silk warp/cotton weft) ikat center Backed with cotton prints Hand-woven tape border Fair condition – ikat has damage as seen in detail photo; top left corner of hanging is damaged as seen in detail photo This hanging was probably made in the mid-20th century. A recycled 19th century piece of handmade adras ikat from an old ikat robe was used in the center. While this has some condition issues, it still makes an attractive wall hanging – and the two prints on the backing could serve as inspiration for a textile designer.

Price: $50.00

WALL HANGING (ATBBTHNB-145) - Uzbekistan, mid-20th century

17” x 17” (as shown) Silk chain stitch on cotton ground cloth Silk fringe with metal spangles and little clear beads Backed with dark gray cotton fabric Very good condition Small embroideries like this are often called “mirror bags” (aina khalta). Originally they were backed with a cloth pouch in order to hold a mirror or other small items. More recently, they were simply used as decorative hangings.

Price: $35.00

WALL HANGING "ZARDEVOR" (ATTHSC-176) - Kattakurgan, Uzbekistan. Circa mid-20th century

121” x 25” (including 3" netting and tassels) Silk hand- embroidery on black cotton sateen Handmade silk netting and tassels Intricate machine-embroidered black cotton border Unlined Good used condition – 5” of fringe missing from left edge Illustrated in SILK and COTTON, pages 202-203 This piece, called a “zardevor” or a “dorpech”, was made to hang just below the ceiling of an important room and served as a sort of frieze along one or more walls. Often it was embroidered with words of good wishes or auspicious motifs. This piece has one old pearl button sewn in the center as an amulet to ward off evil spirits.

Price: $100.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN FRAGMENT (VFNBBB-139)

Japan, mid-20th century or older 15” x 13.5” selvedge to selvedge Hand-Painted on silk “chirimen” (textured silk crepe) Very good condition – no damage This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. It would have been used for a woman’s kimono. It depicts two phoenixes in flight among paulownia flowers.

Price: $25.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN FRAGMENT (VFNB-136)

Japan, mid-20th century or older 15” long x 14.5” (selvedge to selvedge) Hand-Painted on silk “chirimen” (textured silk crepe) Very good condition – no damage This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. It would have been used for a woman’s kimono. The scene depicts the interior of a traditional Japanese house.

Price: $50.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN (VFNBBB-140)

Japan, mid-20th century or older 19” x 14” selvedge to selvedge Hand-Painted on silk “chirimen” (textured silk crepe) Good condition except for small hole near top right corner; torn area on top left edge; tiny stitching holes where seam threads were removed This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. It was originally part of a woman’s kimono.

Price: $50.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN (VFNBBB-135)

Japan, mid-20th century or older Two separate pieces: 20.5” long x 9” (one selvedge) and 32.5” long x 6.5” (one selvedge) Hand-Painted on silk “chirimen” (textured silk crepe) Good condition except for slight marks where stitching was removed. This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. This piece was originally part of a young boy’s kimono. It probably depicts characters from a Japanese fairy tale.

Price: $50.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN (VFNBBB-134)

Japan, mid-20th century or older 30” long x 14” (selvedge to selvedge) Hand-Painted on silk “chirimen” (textured silk crepe) Good condition except for one small hole and notch in the left selvedge. This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. This piece was originally part of a woman’s kimono. It shows two peacocks among lilies, carnations, lily-of-the-valley, spider mums, and other flowers.

Price: $30.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN (VFNB-137)

Japan, mid-20th century or older 25.75” long x 14.5” (selvedge to selvedge) Hand-Painted on silk “chirimen” (textured silk crepe) Good condition - one very small hole, hardly noticeable This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. It would have been used for a woman’s kimono. This is a fall pattern of chrysanthemums growing on latticework

Price: $75.00

VINTAGE JAPANESE HAND-PAINTED SILK YUZEN (VFNBBB-133)

Japan, mid-20th century or older 24” long x 13” (selvedge to selvedge) Hand-Painted on silk “chirimen” (textured silk crepe) Good condition except for some very small scattered holes and notches in the right selvedge. This fabric (called “yuzen”) was hand-painted with textile dyes by means of a complicated process. This piece was originally part of a woman’s kimono. It is beautifully designed and executed with subtle shading. Butterflies with faux tie-dye wings fly among cherry blossoms, peonies, sweet peas, and spider mums.

Price: $75.00

VINTAGE FAUX-IKAT COTTON QUILT COVER (VFOTSC-118) - Uzbekistan, circa 1970s

87” long x 74” wide Three joined lengths of good quality printed-cotton fabric: 2 panels at 87”x30”; one panel 87”x14” Very good condition except for one small tear and one patch (see bottom photos). Fabric strong. Illustrated in SILK and COTTON, page 272 This was used as a quilt cover (“kurpa”) over a thick cotton insert. Many Uzbek homes had little furniture and “kurpas” such as this example were spread on the floor at night to sleep on. During the day they would be folded up and neatly stacked with other bedding in a pile against the wall. This stack was called a “chuk” The archival photograph by Max Penson, c.1930s-40s, shows an Uzbek family having a meal with stacks of bedding quilts lining the wall behind them. A faux-ikat quilt can be seen in the top left corner. The top photo shows one quarter of the quilt cover (too large for me to shoot the entire piece).

Price: $75.00