A mother-of-pearl, tortoiseshell and ivory oratory, Turkey, 16th/17th century, with painted interior, circa 18th/19th century

the wooden frame with bone Y-pattern border design, two hinged doors decorated with tortoiseshell and mother-of-pearl palmette motifs, central ivory division, open to reveal a painted depiction of the Holy family with the angel Gabriel, with two patrons painted on the mother-of-pearl to inside of door panels

In generally good condition, breaks and chips to ivory dividing band in centre, right-hand door panel with cracks and some warping to mother-of-pearl and tortoiseshell, some of ivory revetments and wooden relief sections missing on border, reverse with remains of previous diamond-trellis design with remaining old note, painted and gilt cardboard pieces and mother-of-pearl, with circular hook for hanging, painting in good condition with minor dirt patches on edges, some cracks and light staining in tortoiseshell and mother-of-pearl panels on interior of doors, some rubbing and possible minor restoration to paintings on mother-of-pearl panels, 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 extremely rare portable oratory, of Byzantine influence and Ottoman style, testifies to the cultural blend of sixteenth/seventeenth century Turkey. Whereas the exterior of the oratory, composed of an ivory and wood geometric border and mother-of-pearl and tortoiseshell-inlaid panels, is typical of Ottoman craftsmanship, the painted scenes of the Holy Family and Saints on its interior can be linked to Byzantine models. During this period, Istanbul was home to a multitude of workshops of icon painters who drew inspiration not only from a Byzantine artistic vocabulary but also from Western engravings, Cretan icons and Venetian ecclesiastical metalwork which were integrated into an Ottoman visual repertoire. This type of combination can most probably be linked to Armenian craftsmen who produced a number of similar mother-of-pearl and tortoiseshell items intended for clerical use, notably artophorions (used for keeping Eucharistic bread), two of which are in the Sadberk Hanım Museum, inv. nos. 15645-A.107 and 15646-A.108, and a frame for the icon of St. John the Baptist (Pitarakis and Merantzas 2006, no. 50). Another notable work by Armenian craftsmen is the patriarchal throne in the Cathedral of St. James, Jerusalem (Narqis 1979, no. 168). Furthermore, the bone Y-pattern border design is remarkably similar to the door of the tomb of Sultan Ahmet I in Istanbul (see Barısta 1988, p.92, nos.139-40).

A closely comparable reliquary box, of a later (nineteenth-century) date, comprising an Ottoman mother-of-pearl and tortoiseshell box opening to reveal Byzantine style paintings is in the Sadberk Hanım Museum, inv.no. 15647-A.109 (illustrated in Pitarakis and Merantzas 2006, pp.108-9, no.56).