An Iznik Blue and White Dish, Turkey, Circa 1560-1570

of shallow rounded form with bracketed rim, decorated in greyish-blue with a central floral medallion encircled by lotus blossoms issuing leaves and tendrils, rim with breaking wave motif, the reverse with alternating chinoiserie scrolls and floral rosettes

Clean breaks with invisible repair, small chips to rim, drill holes to foot, minor abrasions to glaze, 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."

This dish illustrates the fascination with early Chinese blue and white porcelains amongst the potters and patrons of Iznik. The origin of the design is an early-fifteenth-century Ming dish such as the one in the collection of the Topkapi Saray (Krahl 1986, p.513, no.602). The flowers are different but of a kind found on other early-fifteenth-century Chinese dishes (ibid., no.603).

The design of our dish, therefore, draws on Ming designs from several sources, combining them to tremendous effect. A further element drawn from Chinese blue and white porcelain is the grey-blue colour of the design. This appeared on Chinese pieces at times when they were forced to use local cobalt rather than imported sources. This did not happen during the early-fifteenth century which is a period noted for the consistently rich blue of its porcelain. Hence, the decoration draws on sources of different periods and one may assume that this grey-blue was adopted to achieve a particular aesthetic for the piece.