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Lot Essay
The present folios are strongly reminiscent of album FY 1423 in the Istanbul University Library (formerly in the Yildiz Library), known 'The Baba Nakkash Album' which is within the 'Mecmaü'l Acaid' and consists of material associated with Mehmet II and evidently also Bayezid II. It contains a number of calligraphic compositions although ours appear to be amongst the most complex. Sühevl Ünver gives a summary list of the contents of the album (Sühevl Ünver, Istanbul Risaleleri, Istanbul, 1995).
A number of folios, from the 'Mecmaü'l Acaid', which present closely comparable features are published (Muammer Ülker, Türk Hat Sanati, The Art of Turkish Calligraphy from the Beginning up to Present, Ankara, 1987, pp. 126-37). One folio with a complex panel of illumination includes a small rectangle within this of mirrored and interlacing calligraphy, on a smaller scale but with the same decorative concept as the orange panel of lot 136 (Ülker, op. cit., 1987, pp. 136-7). The black, white and orange colour combinations are also echoed in a number of instances (Ülker, op. cit., 1987, pp. 128-33). The small panel on black at the top of lot 135 similarly finds close comparison, though on white ground, to another in the same publication (Ülker, op. cit., 1987, pp. 126-130). The relationship between these published panels and the present are strong, suggesting either that they originate from the same album or that either the ad hoc assemblage or elements of the calligraphy are the product of the same workshop.
For a discussion on the calligraphy please see the note to the preceding lot.
A number of folios, from the 'Mecmaü'l Acaid', which present closely comparable features are published (Muammer Ülker, Türk Hat Sanati, The Art of Turkish Calligraphy from the Beginning up to Present, Ankara, 1987, pp. 126-37). One folio with a complex panel of illumination includes a small rectangle within this of mirrored and interlacing calligraphy, on a smaller scale but with the same decorative concept as the orange panel of lot 136 (Ülker, op. cit., 1987, pp. 136-7). The black, white and orange colour combinations are also echoed in a number of instances (Ülker, op. cit., 1987, pp. 128-33). The small panel on black at the top of lot 135 similarly finds close comparison, though on white ground, to another in the same publication (Ülker, op. cit., 1987, pp. 126-130). The relationship between these published panels and the present are strong, suggesting either that they originate from the same album or that either the ad hoc assemblage or elements of the calligraphy are the product of the same workshop.
For a discussion on the calligraphy please see the note to the preceding lot.