DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0028
Janina Poskrobko-Strzęciwilk
Fig. 6 Fig. 7
Kontusz Sash. Woven by the manufacturer Kontusz Sash. Woven by the manufacturer
Jakub Paschalis in Warsaw. Silk and me- Jakub Paschalis in Warsaw. Silk and metallic
tallic in taąuete weave. Rogers Fund, 1911 in taąuete weave. Rogers Fund, 1911 (11.58.17)
(11.58.7)
The bouąuet designs are arranged symmetrically, with the axis emphasised by a
large flower placed either on the top, as in Fig. 6, or in the centrę. The bouąuets
are freąuently placed in a bowl or in a vase, as in Fig. 7. The designs in the borders
of these sashes feature a series of meandering flower sprays with an elongated tulip,
another favourite motif of the Paschalis manufactories.
Although this sash has no inscription, its design and technical features allow us to
attribute it to the Kobyłka manufactory. In the beginning, the company was run
by Francois Selimand, who later was employed by Paschalis, and another French-
man S. Felsjean. Their sashes were characterised by two-dimensional ornamenta-
tion executed in one or two colours, reminiscent of Istanbul sashes. A favourite
Kobyłka border motif was a series of flower sprays alternating with large bows, all
arranged in a sinuous line. Freąuently, every other band in the main ground would
carry a solid colour.
26
Fig. 6 Fig. 7
Kontusz Sash. Woven by the manufacturer Kontusz Sash. Woven by the manufacturer
Jakub Paschalis in Warsaw. Silk and me- Jakub Paschalis in Warsaw. Silk and metallic
tallic in taąuete weave. Rogers Fund, 1911 in taąuete weave. Rogers Fund, 1911 (11.58.17)
(11.58.7)
The bouąuet designs are arranged symmetrically, with the axis emphasised by a
large flower placed either on the top, as in Fig. 6, or in the centrę. The bouąuets
are freąuently placed in a bowl or in a vase, as in Fig. 7. The designs in the borders
of these sashes feature a series of meandering flower sprays with an elongated tulip,
another favourite motif of the Paschalis manufactories.
Although this sash has no inscription, its design and technical features allow us to
attribute it to the Kobyłka manufactory. In the beginning, the company was run
by Francois Selimand, who later was employed by Paschalis, and another French-
man S. Felsjean. Their sashes were characterised by two-dimensional ornamenta-
tion executed in one or two colours, reminiscent of Istanbul sashes. A favourite
Kobyłka border motif was a series of flower sprays alternating with large bows, all
arranged in a sinuous line. Freąuently, every other band in the main ground would
carry a solid colour.
26