A pair of Iznik blue and white border tiles, Turkey, circa 1530-1540

of rectangular form, decorated in two shades of underglaze cobalt blue and turquoise, outlined in blue, with central group of lobed cartouches containing stylised cloudbands, surrounded by curving saz leaves over small rosettes and foliate tendrils issuing flowerheads

European Private Collection since the 1930s

Very minor losses and abrasions to glazed surface throughout. As viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Although blue and white tilework is recorded in Turkey as early as the 1430s (mosque of Murad II in Edirne, circa 1435), it was not until the sixteenth century that the kilns at Iznik started to produce blue and white tiles for public buildings. Some early examples can be found in the tombs of Sehzade Mahmud (1506-7) and Sehzade Ahmed (1512-13) in Bursa (see Porter 1995, pp.102-5).

By the 1520s the colour turquoise was added to the palette, and designs of stylised foliate and floral forms are typically merged with chinoiserie cloudbands, combining patterns derived from Chinese porcelain with more Persianate motifs. The present tiles belong to this rare and desirable group.

The curved feathery saz leaves are characteristic of the style of the Iranian artist, Sahkulu, who was taken captive at Tabriz in 1514 and appointed head of the Ottoman court atelier (nakkashane) in 1526 during the reign of Suleyman the Magnificent (1520-1566). The finest examples of this group, with which these can be associated, are the panels on the facade of the Sünnet Odasi (Circumcision Chamber) in Topkapi Saray, considered by Carswell to be 'among the most startling examples of Ottoman tilework' (Carswell 1998, pp.56-61).