A fine Iznik polychrome dish, Turkey, circa 1575

of shallow rounded form, decorated in underglaze cobalt blue, viridian green and relief red, outlined in black, with a base foliate motif issuing five roses and four sprays of small stylised hyacinths, the rim with a pattern of alternating flowerheads and hyacinth pairs, the reverse with rosettes and tulip pairs

crack between 6 and 7 o'clock running into cavetto, rim chips and some restorations, 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."

During the first half of the sixteenth century, the techniques with which Iznik wares were decorated evolved significantly. With the introduction of new colours, the early stylised floral and vegetal patterns predominant in blue and white dishes were replaced by more realistic representations of particular flowers and leaves. Green artichokes, red tulips, blue hyacinths and other vibrant plant life became the focus of complex aesthetic arrangements. The flat surface of the well, and sometimes the whole plate, began to be treated as a single canvas on which to portray the forms as they would appear in their natural environment (Maria D'Orey Capicho Queiroz Ribeiro, Iznik Pottery and Tiles in the Calouste Gulbenkian Collection, Lisbon 2009, pp.33-5).

The present dish displays a magnificent three-dimensional composition produced by the position and size of the five featured rose blossoms. By making the ones closer to the base foliate motif smaller, the painter creates perspective. This illusion is further accentuated by the curving stems and sprays of hyacinths, which produce a primitive yet effective compositional depth. Much reminiscent of illustration on paper, these methods revolutionised the stylistic nature of Iznik, production of which peaked in the sixteenth century.