A large Kütahya polychrome pilgrim flask, Turkey, mid-Eighteenth century

of circular, convex form, moulded with two raised concentric rings, the circumference applied with eight loops for suspension, a low flaring mouth and narrow foot, decorated in underglaze blue, green, purple, yellow, relief red and black outlines with stemmed flowers, leafy scrolls and buds, the foot later mounted in silver

Couleurs d'Orient, Brussels, 2010

Brussels 2010, p.54

In overall good condition, minor losses to the glaze on extremities, 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."

The pilgrim's flask is decorated with strong, bright colours characteristic of Kütahyan pottery. These colours, which derive from Iznik colour schemes, are enlivened with yellow forming  a palette equal in range to the contemporary famille-verte of Chinese porcelain.  The Chinese colour scheme adopts a pinkish tone early in the eighteenth century and evolves the famille-rose palette. Similarly, a purple tone appears in Kutahya, to judge from datable examples, by the 1740's (Carswell 1972, Vol. II., p.25-34). The use of that purple tone on this flask helps to date the flask to toward the middle of the eighteenth century.

Another distinctive feature of this pilgrim's flask is its intense, horror-vacui decor. Floral stems, flowerheads, leaves and budding flowers overlap, meet, and follow each other in a decorative scheme that evokes a natural spontaneity. Such floral sprays are traced by Carswell first to Iznik models and ultimately to transitional Chinese porcelain of the mid-seventeenth century (Carswell 1972, vol.2, p.36).

A useful comparison for this piece is another Kütahya flask in the Victoria and Albert Museum (Museum number: 777-1892).