Page 162 - ART OF THE ISLAMIC AND INDIAN WORLDS Carpets, Ceramics Objects, Christie's London Oct..27, 2022

PROPERTY FROM A PRIVATE AMERICAN COLLECTION VARIOUS PROPERTIES
*138 140
A RIMLESS IZNIK POTTERY DISH AN IZNIK POTTERY JUG
OTTOMAN TURKEY, CIRCA 1530 OTTOMAN TURKEY, CIRCA 1575-80
The white ground decorated under the glaze in cobalt- Of baluster form on short foot, rising to a slightly flared
blue and turquoise, a central rosette surrounded with mouth with simple handle, the white body decorated
four lotus palmettes, the cavetto with lotus buds with cobalt-blue, green, bole red, and black under the
flanked by saz leaves, repaired breaks glaze with alternating sprays of blue hyacinths and red
13in. (33cm.) diam. plum blossoms, a similar but reduced pattern on the
neck, two bands of black s-motifs around the base and
£15,000-20,000 US$18,000-23,000
one around the neck, with scrolls around the mouth,
€18,000-23,000
historic collection stickers on the base
9¡in. (23.7cm.) high
PROVENANCE:
£20,000-30,000 US$23,000-34,000
Purchased Mashhad, 1930s
€23,000-34,000
This dish was made in a phase of Iznik production
during which the potters began to have greater PROVENANCE:
Ex-collection Édouard Aynard, Lyon (1837-1913)
artistic independence and developed styles that were
‘simple in structure but rapid in painting’ (Nurhan EXHIBITED:
Atasoy and Julian Raby, Iznik, The Pottery of Ottoman Exposition Retrospective d'art ancien, Musée d’Art
Turkey, London, 1989,p.115). Our dish does not have et d’Industrie de Lyon, 1877, no.186 (as per label to
an extended rim like most of the dishes from this underside of foot).
period. The rimless form is known from the 1540s and
is sometimes referred to as asahan, a term found in The decoration on our vase includes alternating bands
archive documents to designate something topped of carnations and hyacinths which were two of the
with a metal cover (Atasoy and Raby, op.cit,, p.44). most commonly used flowers used on Iznik ceramics.
The carnation (karanfil) was highly admired for its
The dish comes from the same Private American pleasant scent and often referenced in court poetry,
Collection as lots 31-39 in this sale. As with those lots, where it is likened to the face or cheek of the beloved
we have very precise provenance details for the group. (Turgt Saner, Sebnem Eryavuz and Hulya Bilgi, Motif
This Iznik dish was bought in Mashhad in the early from the Sadberk Hanim Museum Collection, Istanbul,
138 20th century, a clear demonstration of how the wares 2020, p.98). The hyacinth (sumbul) was another
VARIOUS PROPERTIES favoured flower motif in literature and was a metaphor
of Iznik were collected and exported to Iran as well as
139 to Europe. for the hair colour and form of the beloved, the colour
of ink and many other things. On Iznik, as seen on our
AN IZNIK POTTERY TILE example, they were often matched with the bright red
OTTOMAN TURKEY, CIRCA 1560
shades of carnations and tulips to create beautiful
The white ground painted in cobalt-blue, turquoise, and black, with two visual variations between the designs. (op.cit. p.102).
central swirling saz leaves surrounded by rosettes and palmette buds, The present jug was at some point part of the
restored
10º x 10¬in. (26 x 27cm.) collection of Edouard Aynard (1837-1913) of the
Château de Charnay, Lyon. He was a banker by
£10,000-15,000 US$12,000-17,000 profession and a notable patron of the arts. He was
€12,000-17,000
a founding member of the Historical Museum of
Fabrics of Lyon and the School of Commerce and
EXHIBITED: Weaving. With a particular interest in Islamic art,
E. Grünberg and E.M. Torn, Four Centuries of Ottoman Taste, The Kyberg he enriched the collections of the Museum of Lyon
Gallery, London, 16-22 April 1988 through generous donations, as well as chairing the
Couleurs d'Orient, Arts en arts de vivre dans l'Empire Ottoman, Fondation
Boghossian, Villa Empain,Brussels, 18 November 2010-27 February 2011 commission of acquisitions and the board of directors.
In 1913 he became an honorary member of the
ts.
e
at o a Soc ety o
LITERATURE: National Society of Fine Arts.
E. Grünberg and E.M. Torn, Four Centuries of Ottoman Taste, The Kyberg
Gallery, London, 1988, cat.16 (and back cover)
Couleurs d'Orient, Arts en arts de vivre dans l'Empire Ottoman, Exhibition
Catalogue, Fondation Boghossian, 2010, p.47 (illustrated).
When published by Grünberg and Torn in 1988, the authors of the
catalogue wrote that “this superb tile is an archetypal example of the
so-called saz style”. The most famous examples of this saz style, is the
group of blue and turquoise tile panels on the façade of the Sünnet Odasi
in the Topkapi Palace, possibly done by the court designer, Şahkulu in the
mid 16 century. A similar tile to that offered here is in the Metropolitan
th
Museum of Art, New York (inv. 1978.350; published Maryam D. Ekhtiar,
Priscilla P. Soucek, Sheila R. Canby and Navina Najat Haidar (eds.), 139
Masterpieces from the Department of Islamic Art in the Metropolitan
Museum of Art, New York, 2011,p.308, no.217).
160 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty 161161
fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.