An Ottoman voided silk velvet and metal-thread (Çatma) panel, Bursa or Istanbul, Turkey, circa 1600

with a repeating design of metal-thread fan shaped carnations each with seven serrated petal, supported by palm leaves, on a crimson silk velvet ground, with a complementary border formed by the overlaying frame formed of two open stripes at both the inner and outer edges

Overall measurements: 123cm across the top, 124cm across the bottom, 170cm along left side, 171cm along right side Comprised of two joined panels, with vertical join up the centre, through both lower and upper borders. this is commensurate with manufacturing technique of joining loom width pieces together. The composition matches and is balanced and complete, and includes the outer selvedges at the sides. There is a section across the lower end of the right hand panel which is later machine stitched panel, approximately 8cm. high, and 62cm long (width of the right hand panel) and includes the selvedge along the lower edge and small section of right hand vertical edge. The top selvedge and top right corner are also later machine areas. Cerise pile (approx.1mm) with some wear in areas, and some evidence in areas of the motifs of remaining green pile, to inner edges. Most metal-thread now lacking, and that which remains is tarnished. There are some hand repairs, especially to corners and up the central join and machine stitched even consolidation stitching to the ground. Stable condition. Caramel coloured silk backing. Interlining which makes piece slightly stiff but is supporting the textile. It would benefit from addition of Velcro being attached across the top edge, for hanging purposes in the future. Interesting piece as research panel, and complete composition.
"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."

These large çatma panels, typically with a narrow geometric inner frame and an endless repeating design which extends beneath this frame, are thought to have been used either as wall hangings, curtains or as covers for divan. This panel is in the 'quatre-fleurs style' named for the four most commonly used flowers: the tulip, hyacinth, rose and the carnation, all closely associated with the Ottoman Court.  The carnation was one of the most beloved floral motifs of the Ottomans and  by the end of the 16th century it had developed into the serrated fan-shaped carnation palmette motif known as the 'fan' pattern, or yelpazeli. Contemporaneous records show that the silk weaving ateliers of Bursa and Istanbul were carefully monitored by the Ottoman Court,  the number of looms and the usage of precious metals was strictly controlled and  workshops producing anything but the highest quality of textiles were forcibly closed down. It would follow that the designs were also closely monitored and that weavers and designers were forced to follow strict guidelines as to form and content and could, therefore, only show their creativity and inventiveness within a very narrow remit. For examples of 'yastik' covers see lots 170 & 171 in this sale.    

With a limited number of ornaments and a restricted range of colour the Ottoman textile designers were able to achieve impressive versatility using barely perceptible changes and by constantly modifying composition and using alternative combinations of motifs.  They were able to ensure that within the considerable number of silks with offset rows of carnations that are extant, there are very few identical examples.  Carnations have five, seven or even nine petals, they may have variations of floral sprays within each petal or none; the root, leaf and secondary palmette motifs have minute permutations and subtle changes. Although crimson velvet is the dominant colour, green, blue, ivory and yellow detailing can be used along with endless variations within the placement and usage of gilt and silver metal thread.      

Comparative Literature

For related velvets with variations on the current lot see Friedrich Spuhler, Islamic Carpets and Textiles in the Keir Collection, London, 1978, Part 2, Textiles, Chp. 12, Anatolia: The Ottoman Period, pp.205-232, p.208 & 216, No.128, silver and gold brocaded velvet, fragment, Turkey, 17th century. A single panel velvet without a border in the Textile Museum, Washington D,C., Inv. No. 1.52.1951, see Mackie, Louise W., The Splendour of Turkish Weaving, (ex. cat.), The Textile Museum, Washington, D.C., 1973, pp. 26 and 57, no. 15. A single left hand side çatma panel with similar  carnations, border treatment and palm leaves  in the Victoria and Albert Museum Collection, London, Inv. No. 535-1884, see: Gürsu, Nevber, The Art of Turkish Weaving, Istanbul, 1988, p. 140, no. 167 and front cover.  A seven petal carnation design velvet and metal-thread cushion cover (minder) with lappet ends and no supporting secondary motifs was last sold in these rooms, 17 October 1997, lot 225, see Herrmann, Eberhart, Asiatische Teppich-und Textilkunst, Band 4, Munich, 1992, p. 30, pl. 10 and is now in the Collection of the Museum of Islamic Art, Qatar, see Thompson, Jon, Silk, 13th to 18th centuries, London, 2004, pp. 34-5, no. 6.  Two other fragments with similar fan-shaped carnations with five petals rather than seven are illustrated in Erber, Christian, (ed.), A Wealth of Silk and Velvet, Ottoman Fabrics and Embroideries, Bremmen, 1983, pp. 178-181, nos. G 10/1 & G 10/2 and a single right hand side divan cover panel from the Muncaster Castle Collection was sold in these rooms 18th October 1995, lot 9.  For a Russian Orthodox cope (phelonion) formed from a loom width with staggered rows of carnations in the Hermitage Museum, St. Petersburg, Inv.no. T-347 and a panel with three-coloured silk velvet pile in the Fitzwilliam Museum, Cambridge, Inv.no. T.154-1949, see: Raby, Julian and Effeny, Alison (eds.), Ipek, The Crescent and the Rose, Imperial Ottoman Silks and Velvets, Istanbul, 2001, nos.102 and 103.  The closest parallels are two 2-loom width panels of similar format to this one, both in the Calouste Gulbenkian Collection, Lisbon, Inv. Nos.1384 & 1425, see Un jardin encantado, Arte islámico en la Colección Calouste Gulbenkian, (ex. cat.), 2001, pp.144-5, no.57 and Islamic Art in the Calouste Gulbenkian Collection, (ex. cat.) Lisbon, 2004, p.115, no.49. For a comparable comparable panel, Bursa or Istanbul, late 16^th or early 17^th century, see Sotheby’s, London, 5^th April 2007, lot 51.