A Kaitag silk embroidered yastik, Ottoman,

of rectangular format, embroidered in polychrome silks in red, blue and ivory on a yellow ground, with a central medallion surrounded by four serrated leaves and stems placing carnations in each corner, and flanking archichoke motifs, with two narrow compartmentalised borders enclosing foliate flowering stems, with a block printed reverse lining

Colours not as bold and strident. More attractive and natural tones. Polychrome threads worked onto a silk ground. Backed with a block-printed textile, sections of which are visible to edges of the panel, as visible in the photograph. One colour, probably a brown/walnut has oxidised away completely, but this does not detract from the overall appearance.
"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."

For comparable Kaitag pieces of similar colours (especially yellow, red and blue) and design, with a central medallion and variations of representations of carnations within each spandrel and use of serrated leaves, and with two narrow compartmentalised borders, see Chenciner, Robert, Kaitag Textile Art from Daghestan, London, 1993, pp.130-135, 197-198, cat.nos.156-158, pl.41,42 & 43. The first of these cited examples is especially similar to the presently offered lot, and is on a yellow ground. The design is similar to those used for the Ottoman velvets and çatma and used for yastik and covers in the 16^th and 17^th century.

For a very similarly designed velvet yastik, Istanbul, 17^th century, with the fan carnations in the corners, the serrated leaves and small artichoke motifs (which worked in white in the presently offered lot, are not as clearly visible), see Mackie, Louise W., The Splendour of Turkish Weaving, The Textile Museum, Washington D. C., 1973, No. 18, pp. 27 & 59, fig.17, and another comparable early 17^th century velvet yastik, from the Topkapi Palace Museum, Istanbul (Inv.no.13/1440), see Atasoy, Nurhan, et al, Ipek: The Crescent & the Rose, Imperial Ottoman Silks and Velvets, Istanbul, 2001, pg.132, pl.84.

For another comparable velvet yastik design, albeit more stylised in conception, with central roundel, four bold serrated leaves, spandrels incorporating small carnations and flowerheads, and the same border type with carnations, which in turn relates to a comparable version of a Kaitag panel, see Chenciner, opcit., pg.28, cat.no.159.