Page 92 - 2021 April 1, ART OF THE ISLAMIC AND Indian Worlds Including Oriental Rugs, Christie's London

*77
A RIMLESS IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1530
The white ground decorated in different
shades of cobalt-blue with three flowering
trees divided by stylised flowerheads, within
an elegant meandering floral border, the
exterior with a similar floral meander, repaired
breaks
11¿in. (28.3cm.) diam.
£15,000-20,000 US$22,000-28,000
€18,000-23,000
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*78
A RARE BABA NAKKAŞ IZNIK BLUE AND WHITE JAR
OTTOMAN TURKEY, CIRCA 1520
The white ground decorated in shades of blue with a band of meandering Both of these features can also be found on the exterior of a basin in
tendrils issuing complex floral terminals, a lobed band below, a meandering the V&A, attributed to the workshop of the ‘Master of the Knots’, circa
floral tendril on blue ground above, a similar band around the mouth, areas of 1510-20 (inv.no.7409-1860; published Atasoy and Raby, op.cit., pp.98-99,
restoration
no.112) and a group of mosque lamps made for the tomb of Sultan Beyazid
10ºin. (25.8cm.) high
(one of which was offered in these Rooms, 24 October 2019, lot 166) all
£100,000-150,000 US$150,000-210,000 attributed by Atasoy and Raby to the ‘Master of the Lotuses’ and datable
€120,000-170,000 to 1512.
This spectacular Iznik jar belongs a group probably produced in the second Jars of this type were likely used as storage containers. A miniature in a
decade of the sixteenth century, under the reign of Selim I (r.1512-20). It is copy of the Baharistan of Jami (produced in Istanbul between 1595-1603)
decorated in a style that owes much to the so-called Baba Nakkaş’ style with illustrates a fruit seller’s shop. On the counter are a number of jars, some
its rumi-hayati motifs that developed from the Abraham of Kutahya style. with lids and/or handles, others without, very similar to ours (Atasoy and
Here, as on other examples of similar period, the motifs have altered slightly Raby, op.cit., p.47). The earliest known example, squatter than ours, copies
such that they have an inflated quality which slightly obscures the spiraling a Chinese shape and dates from the end of the 15th century (in the V&A,
movement of the stems. inv.no.C.57-1952).
A very similar jar is in the Los Angeles County Museum of Art attributed by Interestingly, the influence of the Baba Nakkaş phase was felt well into
Nurhan Atasoy and Julian Raby to circa 1520 (inv.no.M.85.237.80; published the second half of the 16th century, and mostly in jars, where potters
Nurhan Atasoy and Julian Raby, Iznik, the Pottery of Ottoman Turkey, London, produced vessels of similar form to that seen here retaining elements of
1989, pp.106-7, cat.127). Not does it share a very similar main register, with the style although in debased form. See for example a jar, attributed to
fleshy hayati flowerheads on white ground, but the band above with the vine circa 1560, in the Capodimonte Museum in Naples (inv.no.118; published
of flowerheads reserved against cobalt-blue ground is also closely related. Atasoy and Raby, op.cit., no.521).

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