An Iznik Blue, White and Green Bowl, Turkey, Circa 1530-1540

of deep rounded form on a narrow foot, the interior painted in underglaze blue, green and black outline with a design of a central floral spray within a border of radiating petal motifs, further floral sprays around the cavetto with interstitial stylised cloud scrolls, below the rim a frieze of interlacing flowers and leaves, the exterior with similar decoration

Turkophilia, Paris, 2011

Paris 2011, p.45

In fair condition, once fragmented and restored, some parts re-constructed with paste, spur mark to interior centre, 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."

The delicate and sparing decoration of this bowl, combined with a faltering green, marks this bowl as unusual and experimental. The decorative motifs of floral sprays and cloud scrolls are evolved from the designs of Chinese blue and white and came to be used, prominently in the cavettos, of Iznik wares of 1525-35 (Atasoy and Raby 1989, pp.116-7, nos.165-173). These wares bear a style of decoration termed the 'Potters Style' but, unlike them, this bowl has no 'horror vacui' but embraces a spaciousness seen on just a few pieces of the 1530s (ibid., nos.212-3). It is late in this decade when the new colour, grey- or sage- green, is introduced into the Iznik palette. Its use on this bowl seems both tentative and innovative and dates the piece to the early years of its appearance.