Ottoman Syria

decorated in underglaze cobalt blue, turquoise, and apple green with black outlines, foliate vine, mounted

One edge with large chip, the other edges with some abrasion and minor chips, hairline craquelure to glaze, some discoloration to turquoise vine, pitting, set onto wooden mount with hook for attaching, 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."

Just as Hodgkin loved Iznik tiles, so too did he collect Damascus pottery tiles, which borrowed from the Iznik repertoire but developed at a slighter later stage. Although these follow a less rigid symmetry, toned colour palette, and runny glaze, they are appreciated for their spontaneous designs. The English Pre-Raphaelite artist, Frederic, Lord Leighton (1840-96), created an Arab Hall filled with Damascus pottery tiles in his London home, known as 'Leighton House', following a trip to Damascus in 1873.