A RARE IZNIK BLUE AND WHITE POTTERY CHINOISERIE TAZZA, TURKEY, CIRCA 1560-70
of deep rounded form with sloping bracketed rim, resting on a raised everted foot, decorated in greyish-blue under a transparent glaze with a central bracketed medallion containing lotus blossoms issuing leaves and tendrils encircling each other, the cavetto and rim with a repetition of this design, the exterior with similar interspersed motifs
Broken and restored with associated overpainting and retouching, interior with light scratches consistent with use, 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 dish illustrates the fascination with early Chinese blue and white porcelains among the potters and patrons of Iznik. The origin of the design is an early fifteenth-century Ming dish such as the one in the collection of the Topkapi Palace (Krahl 1985, p.513, no.602). The flowers are different but of a kind found on other early fifteenth-century Chinese dishes (ibid., no.603).
A further element drawn from Chinese blue and white porcelain is the grey-blue colour of the design. This appeared on Chinese pieces at times when they were forced to use local cobalt rather than imported sources. This did not happen during the early fifteenth century which was a period notable for the consistently rich blue of its porcelain. Hence, the decoration draws on sources of different periods and one may assume that this grey-blue was adopted to achieve a particular aesthetic.