AN IZNIK BLUE AND WHITE POTTERY BOWL
VAT rate of 5% is payable on hammer price and at 2… Read more THE PROPERTY OF A GENTLEMAN The following five lots were collected by a member of the German diplomatic service, who headed the mission in Istanbul and later Ankara during the 1920s. While in Turkey he always sought the advice of the Turkish Archaeological Institute in Istanbul before purchasing anything. This explains the small but very interesting academic selection of which the collection is formed.
AN IZNIK BLUE AND WHITE POTTERY BOWL

OTTOMAN TURKEY, CIRCA 1520

Details
AN IZNIK BLUE AND WHITE POTTERY BOWL
OTTOMAN TURKEY, CIRCA 1520
Of hemispherical form rising from short vertical foot to slightly everted rim, the white interior decorated with a central roundel containing a flowerhead issuing swirling leaves reserved against cobalt-blue ground, the cavetto with a series of alternating cypress trees issuing small rosettes and lotus blossoms on long swaying branches, four diagonal sprigs of hyacinth blossoms join them, the rim with small cusped panels with trilobed motifs, the exterior with staggered rows of large rosettes and smaller trilobed motifs, repaired breaks, areas of restoration
7 1/8in. (18.2cm.) diam.
Special notice
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Andrew Butler-Wheelhouse
Andrew Butler-Wheelhouse

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Lot Essay

The period of the 1520s and was one of great experimentation at Iznik. While it did not produce as many extraordinary large vessels as the period before 1500, and did not have the developed colour scheme that came in in the 1530s, it was the period in which the roots of the later styles all found their genesis. The present bowl shows exactly the experimentation that is typical of the period, all executed in a very good blue colour. The central roundel is found on a number of 'Potter's style' vessels, such as one in the Fitzwilliam Museum, Cambridge (Nurhan Atasoy and Julian Raby, Iznik, the Pottery of Ottoman Turkey, London, 1989, no.170, pp.116-7). It is surrounded by feathery strands which, had they been allowed to grow, would have spiralled into a tughrakes or Golden Horn style dish. The strange flowers on top of the wavy stems and the reserved panels around the rim recall elements of the Abraham of Kutahya earlier style. The design is however dominated by the cypress trees, delicately garlanded with tughrakes bands, that recall the trees on the contemporaneous bottle base formerly in the Jasim Homaizi Collection and now in the Museum of Islamic Art, Doha (Atasoy and Raby, op.cit, no.304, p.164).

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