1 More


Of typical form, formed of a single sheet of metal, the surface shaped at the eyes and with pronounced medial ridge flaring at the bottom and terminating at the top in a rectangular cartouche filled with naskh on stippled ground, arabesque and floral cartouches around this, some issuing tulips, the sides of the long nose with panels filled with scrolling leafy vine, a series of holes for pins around the edges, minor areas of rubbing
20¾in. (52.7cm.) long
By repute formerly in the collection of Pidhirsti Castle,
Residence of John III Sobieski,
A Private European Collection

Brought to you by

Andrew Butler-Wheelhouse
Andrew Butler-Wheelhouse

Check the condition report or get in touch for additional information about this

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay

The chamfron is possibly the most sculptural of all pieces of armour. While the basic need to protect the horse’s head remained the same, the way of dividing the space allowed for huge variety of decoration. Widely varying forms were used from the 15th century through to the 17th century, where, particularly in Ottoman tombak versions, a great virtue was made of the play on different shapes (Fulya Bodur, rk Maden Sanati, The Art of Turkish Metalworking, Istanbul, 1987, nos.A179, A180, A184, A185 and A186 for example).

The fashion for gilt copper, or tombak, developed in Ottoman Turkey in the 16th century. Whilst it was used primarily in the mosque and home for objects such as lamps, incense burners, candlesticks, and bowls, it also had an important function in a military context. A number of tombak helmets, chamfrons and shields are known. Because of the malleability of the copper, tombak armour would provide no effective defence in battle. It is likely therefore that the rich, lustrous pieces were created for parades and other ceremonial use, enhancing the pomp and colour of the Ottoman army.

James Allan acknowledges the possibility, however, that important Ottoman figures, such as sultans or viziers, might have used richly-decorated objects in battle as a symbol of their status (Yanni Petsopoulos (ed.), Tulips, Arabesques & Turbans. Decorative Arts from the Ottoman Empire, London, 1982, p. 42). The fact that there are a number of tombak pieces in the Karlsruher Turkenbeute from the collections of Baden-Baden suggests that in spite of its softness, the material must have been used at the siege of Vienna in 1683. It is clear that they were not the standard for the Ottoman army however. When used in battle, tombak armour was no doubt used only by the most important figures on the field. It is likely that our chamfron was taken at, or around, the time of the Siege of Vienna as part of the booty – the wealthy castle estates such as Pidhirsti Castle became rich depositories of the spoils of the siege.

Chamfrons of similar shape, although in steel rather than tombak, are in the Military Museum in Istanbul (for instance inv. nos. 208–14, 208–83 and 208–139; Tunay Guckiran, Askeri Müze, At Zirhlari Koleksiyonu, Istanbul, 2009).v

Related Articles

View all
12 great works of Islamic art  auction at Christies
Windows into a different count auction at Christies
Virtual tour: Art & Design – A auction at Christies

More from Art of the Islamic and Indian Worlds

View All
View All