An Iznik Polychrome Dish, Turkey, circa 1560-1570

of shallow rounded form, decorated in underglaze cobalt blue, viridian green and relief red, outlined in black, with a base foliate motif issuing five carnations and three sprays of small stylised hyacinths, the rim with circular and spiral motifs, the reverse with alternating rosettes and tulip pairs

overall in good condition. some minor abrasions to the extremeties. one visible crack to the left of the dish, 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 is a beautiful example of the 'new floral style' that entered the designs of Iznik pottery in the last years of the reign of Suleyman the Magnificent (Atasoy and Raby 1989, p.228, nos.400-410). This new style of floral decoration is usually based around the 'Quatre Fleurs': the tulip, hyacinth, carnation and rose. Kara Memi, the court artist and the pupil and successor to Sahkulu, is thought to have been responsible for its promotion to popularity.

This period also witnessed the widespread introduction of red into the palette of Iznik underglaze decoration. The orange shades on the present dish are evidence of early difficulties in providing consistent results in this endeavour, an uncertainty in evidence on the mosque lamp from the Süleymaniye, circa 1557, in the Victoria and Albert Museum (ibid., p.225, no.377).