An Ottoman tortoiseshell, mother-of-pearl and ivory-inlaid cabinet with cintamani design, Turkey, 17th century

of rectangular form on bracket feet with hinged, lockable double doors opening to reveal a bone and ivory diamond lattice design and three shelves, surmounted by a decorative arched pediment set with crescent moon finial, inlaid throughout with ebony, ivory, bone, tortoiseshell and mother-of-pearl, the dominating design centred on the cintamani motif, one side intentionally left blank, with key

Private collection, UK
Previously in the collection of Henry ('Harry') M. Blackmer
 
Born in Denver, Colorado on 12 August 1923, Henry Blackmer settled in Athens, recreating a nineteenth century home overlooking the Acropolis, which housed his eclectic collection, immersed in the Byzantine and Ottoman. A renowned bibliophile, his library still serves as a reference for scholars and collectors alike. This casket embodies not only the creativeness of Ottoman craftsmen in the seventeenth century, but also the taste of Blackmer himself, “[…] whose collection grew from an attempt to collect in a symbolic form the separate elements which where disappearing in the Levant and which and been held together by the Ottoman Empire”.

In fair overall condition, the wood with some knocks and hairline cracks with associated infill, the bone and ivory inlaid borders also with some cracks, losses and associated restoration (infill), the blank left-hand side in generally good condition, the reverse with incision marks of geometric diamond-lattice design, a few knocks, abrasions and remains of wood worm damage, the tortoiseshell in sections, some of which are replacements or later restorations rendering the colour unequal, areas of loss with associated infill, the mother-of-pearl in similar condition, with some scratches, losses (particularly to extremities), and associated repair, the interior in overall good condition with few pieces of ivory replaced and some general wear consistent with age, it has been suggested that the cabinet was constructed from reclaimed sections of wood, explaining the incised lines on the panel making up the reverse, and the underside, which is painted black and seems to contain some newer pieces of wood, the tympanum appears to be of a different type of wood also, further marking this theory, but as the provenance suggests, these changes would have been made over a century ago. 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."

Instantly recognisable from its bold cintamani design, grouped into triple-balls, it is easy to imagine why this impressive cabinet would have appealed to Mr. Blackmer and his collecting vision. Although the cintamani motif is closely associated with Ottoman design, and can be seen on numerous media, including ceramics, armour, manuscript illumination, and textiles; their appearance on furnishings are rarer, and the main known examples are in the Topkapi Saray Palace. Notably, the shutters in the Baghdad Kiosk, built in 1638-39, providing a reference for the dating of the present piece. A wood throne in the Topkapi Saray Palace which is dated to the mid-sixteenth century, possibly commissioned for the Emperor Süleyman, also features inlaid ivory and mother-of-pearl work in which the design of interlacing arabesques is completed by cintamani motifs grouped in threes (inv.no.2/2879, see Atil 1987, pp.168-9, no.107).

In terms of shape and dimensions, also few comparable examples exist; the most obvious connection is to be made with the smaller, portable scribe’s chests, notably a box in the Los Angeles County Museum (inv.no. M.2005.125), attributed to circa 1640. Ottoman interiors, up to the nineteenth century, contained few furnishings, and so this cabinet must have been considered an exceptional piece. It is interesting to note that this cabinet was decorated only on one side and was most probably originally intended to be site-specific.

A box with a similar design (though smaller and of domed octagonal form), sold in these rooms, 7 October 2015, lot 410. A cabinet of the same form, size and featuring a diamond-lattice design, was sold in these rooms, 24 October 2007, lot 301. A further sixteenth/seventeenth century Ottoman cabinet was sold in these rooms, 30 April 2003, lot 91.