An Ottoman Mother-Of-Pearl and Tortoiseshell Calligrapher's Chest, Turkey, early 17th Century

of rectangular form on four short feet, drawer to front with lock and key, secret compartment beneath the drawer, decorated with tortoiseshell and mother-of-pearl geometric designs on the top, with ivory and metalwork outlines, criss-cross borders and palmettes to the sides

In general good condition, with some restorations and refurbishment, including some replaced tortoiseshell panels, one small panel missing, 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 decoration of this calligrapher's cabinet is typical of late sixteenth- or early seventeenth-century Ottoman taste, as reflected in various media. Notably, the arrangement of the pentagonal pieces of mother-of-pearl resembles the decoration used on royal commissions such as two Qur'an boxes now in the Museum of Turkish and Islamic Art, Istanbul. One of these Qur'an boxes came from the tomb of Sultan Selim II (r.1566-1574) and the other from the tomb of Sultan Mehmed III (r.1595-1603). Similar dense, geometric patterning framed with khatamkari borders is also found on a pair of wooden doors in the pavilion of Sultan Murad III (r.1623-1640) in the Topkapi Palace Museum. Furthermore, the central design on the upper surface of the cabinet can also be compared with contemporary Ottoman binding designs. This decorative repertoire was favoured by the Ottoman chancery as expressed in the wide range of media on which it appears, and particularly on scribal works of art.

Cabinets of such quality of design and workmanship were used by an elite group, including statesmen, scholars and calligraphers. A similar seventeenth-century cabinet is illustrated in McWilliams and Roxburgh 2007, p.51, fig.32. An almost identical calligrapher's cabinet is found in the Sakip Sabanci Museum, Istanbul (inv. no. SSM 195-0574).