How to collect Iznik pottery

Yes. Iznik is the name of a town known in ancient times as Nicaea, which lies some 90 kilometres south-east of Istanbul. It was the site of the potteries of the Ottoman Empire.

A group of Iznik ceramics purchased between 1865 and 1878 on the Greek island of Rhodes, by the Cluny Museum in Paris, led to a lasting misattribution of these wares to the island — which is why some of the earliest examples of Iznik sold at Christie’s were catalogued as ‘Rhodian’.

Excavations of the kilns at Iznik have since led to this misattribution being corrected, but many older publications still refer to ‘Rhodian’ ceramics.

Iznik vessels come in all shapes and sizes — most commonly, for eating and serving food, and for functions relating to religious worship. Dishes are seen most often, followed by jugs. Other forms occasionally come up for auction, but they are rarer.

Tiles were also produced in great quantities — particularly in the second half of the 16th century, as decoration for the walls of the monumental structures being commissioned by the sultans of the era. The tiles that come to market are likely to have been surplus from this large-scale production.

Iznik pottery can be dated quite precisely, largely on the basis of the colour and design. Earlier pieces are generally more coveted than those made in the 17th century.

1480-1520: This early phase saw the production of impressive vessels, usually painted in a bold cobalt-blue and white, and often with patterns in white on a blue ground. The decoration is heavily informed by other arts, such as manuscript illumination and Chinese porcelain, which was highly prized at the Ottoman court.

1520-1560: Turquoise blue is introduced, and decoration is largely painted on a white ground. Designs become simpler, but still frequently take Chinese motifs for inspiration. One rare group, which developed in this period, features delicate spiralling scrolls with tiny leaves and flowers; it’s known as ‘Golden Horn ware’, because of where it was first found.

The period also saw the production of ‘Potter’s Style’ pieces, whose designs tended to include central compositions containing realistic representations of flowers in vases or jugs on small tables.

In the late 1530s, manganese purple and olive green are added to the palette of blue and turquoise. Iznik pottery of this period is often referred to as ‘Damascus ware’ because of the similarity of its colours to pottery produced in Syria. Large, round motifs with scale-like patterning are often used in the decoration, sometimes representing pomegranates or artichokes. Increasingly, one sees the naturalistic design that comes to dominate production.

1560-1600: This is the phase during which Iznik reached its highest point, with artists bringing together a rich repertoire of often naturalistic motifs. The Ottoman Empire was at its height, and enormous quantities of Iznik were commissioned, including tiles destined to cover the walls of the buildings designed by the chief court architect, Sinan.

At this time, strong turquoise, emerald green, black and deep red are added to the spectrum of colours, and outlines are often drawn in black.

17th century: Largely owing to economic difficulties, there was a decrease in demand for Iznik pottery in the early years of the 17th century, and quality began to decline. Less subtle versions of the pottery of the previous century were produced, as decoration became less detailed and colours deteriorated, with red often appearing slightly brown.

During this period, the quality of the paste and glaze also deteriorated, with the glaze taking on a bluish tone and becoming more prone to craquelure. Designs did, however, become freer, with artists conjuring up unusual and imaginative designs — sometimes with quirky figural representations.

Because Iznik was produced in relatively large quantities, condition plays a big part in value. Intact pieces can make significantly more than similar examples with repaired breaks. If a piece has been repaired, the less loss of the original body, the better.

You will often find small holes in the foot of a dish, drilled so that it could be hung like a work of art. Don’t worry about these — they won’t affect the value.

Collectable Iznik pottery has strong colours, well contained within their outlines, and a very clean, clear white surface. The red colour, made with Armenian bole (an earthy clay) should be thick and proud of the surface.

But beware: photographs can often misrepresent colours, particularly the white, which is so crucial. Look at images taken in different lighting conditions, or, ideally, examine a piece in person.

Study the sale catalogue or contact a specialist in Christie’s Islamic and Indian Art department to talk about a piece’s history before you buy. Provenance from a known or venerable collection can add to the attraction of a piece — and that will be listed in the lot cataloguing.

Labels or numbers on the underside of a piece often reveal more clues about its history, tracing its journey through galleries, auction houses and exhibitions during the 20th century, and sometimes earlier.

Yes, it's worth looking out for 19th-century European interpretations of Iznik. There was a trend for collecting Islamic works of art, which in turn became a source of inspiration for European craftsmen. Iznik pottery was frequently ‘copied’ by makers such as Edmé Samson et Cie, Theodore Deck and Ulisse Cantagalli.

Look at pieces closely: most of these makers signed the bases of their works — Cantagalli usually with a small cockerel, Deck with a ‘TH.DECK’, and Samson with several versions on the letter ‘S’ or its equivalent in Arabic.

Also highly collectable is Kütahya pottery, which was produced from the 15th century in a town close to Iznik. Production peaked when Iznik declined, and pottery is still produced there today. Kütahya wares are characteristically decorated in bright colours, including yellows and browns not familiar in Iznik. Kütahya had a large Armenian community, so the pottery produced there often incorporates Christian motifs.

Because Iznik has been so widely admired and collected, almost since the time of its conception, examples can be found in museums the world over. In London, the British Museum houses what is one of the best collections outside Turkey, with many examples that have helped shape our understanding of Iznik.

In Istanbul, the Çinili Köşk (literally ‘tiled kiosk’) in the Topkapi Palace Museum holds an important collection. So, too, does the Sadberk Hanim Museum and the Mosque of Rüstem Pasha, where a magnificent array of different tile designs beautifully demonstrate the mastery of the Ottoman potters.

Explore the Art of the Islamic and Indian Worlds including Rugs and Carpets sale at Christie’s in London, on view 19-23 October 2024, prior to the auction on 24 October