RARE KUTAHYA POTTERY JUG

Turkey 18th Century, Height: 13.2 cm.

The body of conical form rising to the round mouth, the white surface painted in typical colours with bands of green and yellow flowering sprays, and red leaf-motifs around the body. The use of vibrant red dots and the employment of rich yellow is characteristic of 18th century Kütahya-wares.

A comparable Kütahya jug with similar body form is found in the John Ralph Auckland Brocklebank Collection in Oxford, please see: Garo Kürkman’s Toprak, Ateş, Sır – Tarihsel Gelişimi, Atölyeleri ve Ustalarıyla Kütahya Çini ve Seramikleri, Istanbul, 2005, p. 263. Another, slightly shorter jug from the same period, bearing the same vibrant red, green and yellow from the Sadberk Hanım Museum in Istanbul is published in Asırlar Sonra Bir Arada – Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler, 2005, p. 157.

Provenance: Private UK Collection

RARE KUTAHYA POTTERY JUGmagnifing glass

Cantagalli Iznik-style Footed Bowl

Italy - 19th Century - Height: 28.5 cm - Diameter: 41 cm

Rising from trumpet foot to wide rounded sides with slightly flaring rim, the white ground decorated with cobalt-blue, manganese purple, green hatayi flowers and saz leaves, the foot with a band of scrolls followed by scrolling saz leaves bordered above with band of stylized flowers, the interior with floral register including tulips, and rosettes and a floral band, intact.

Founded by Ulisse and Giuseppe Cantagalli in Florence, the Cantegalli 'Iznik-style' ceramics can be identified by their signature cockerel marker on the base of the vessels. This unique signature and the non-Iznik typical size and form of many Cantagalli vessels reveals that the Italian producers did not seek simply to create Iznik reproductions. The polychrome style and saz leaf motifs borrowed from Iznik are however quite similar and has even resulted in the occasional past misattribution. See: Walter B. Denny, Iznik: The Artistry of Ottoman Ceramics, London, 2004, p. 222.

For comparable works produced in Cantagalli workshops in the Iznik-style see: Giovanni Conti & Gilda Cefariello Grosso, La Maiolica Cantagalli, Cassa di Risparmio di Firenze, Roma, 1990, pp. 62-64. Also see: The Revival of Italian Maiolica: Ginori and Cantagalli, Edizioni Polistampa, Firenze, 2011, pp. 220-224.

Cantagalli Iznik-style Footed Bowlmagnifing glass

Kutahya Dish Decorated With The Tughra Of Sultan Abdulhamid II (R. 1876-1909)

Turkey - Between 1876-1909 - Diameter: 27.3 cm

The present dish bears the tughra of Sultan Abdulhamid II (r. 1876-1909), also bears a prayer to the Sultan in Turkish, “muzaffer ol daim” (May you be always victorious) in thuluth script. The upper half of the dish is decorated with the Ottoman imperial arms.

For a comparable Kutahya-ware, similarly decorated with calligraphy, please see Terres d’Islam – Les Collections de Céramique Moyen-Orientale du Musée Ariana a Geneve, Ariana, Geneve, 2014, pp. 270-271.

Kutahya Dish Decorated With The Tughra Of Sultan Abdulhamid II (R. 1876-1909)magnifing glass

Unusual Iznik Dish Decorated With A House

Turkey - Circa 1600 - Diameter: 21.5 cm

Of deep rounded form, decorated underglaze blue, relief red and olive green, outlined in black, with a central depiction of a house, the rim with black circular and spiral wave motifs.

An Iznik dish, decorated with a comparable underglaze painted house scene is in the Sadberk Hanim Museum in Istanbul, please see Hülya Bilgi, Asırlar Sonra Bir Arada – Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler, Vehbi Koç Vakfı, 2005, p. 90-91. Also see Splendeurs de la Cermamique Ottomane des Collections Suna-İnan Kıraç et du Musée Sadberk Hanım, Musée Jacquemart-André – Institut de France, Istanbul, 2000, p. 95.

Unusual Iznik Dish Decorated With A Housemagnifing glass

Iznik-style Theodore Deck Dish

France 19th Century - Diameter: 44.5 cm

With scalloped rim, the white ground finely decorated with vines and bunch grapes and peony-like blossoms around, the reverse decorated with paired tulips and rosettes, marked TH. DECK

This dish by Theodore Deck is a copy of an important Iznik dish, dated 1545-50, in the British Museum, please see: Nurhan Atasoy & Julian Raby, Iznik, London, 1989, fig.241, pp.137-138. Another from the same series by the French ceramicist is exhibited at the Victoria and Albert Museum and dated 1865 (id. 226-1896). Also see: Hitzel, Frédéric & Mireille Jacotin. Iznik – L’Aventure d’une Collection, Musee National de la Renaissance – Chateau d’Ecouen, Paris, 2005, p. 41.

Provenance: Private French Collection

Iznik-style Theodore Deck Dishmagnifing glass

CANTAGALLI POLYCHROME POTTERY BOTTLE

Italy, 19th Century, Height: 43 cm.

Rising from pear shaped body to a slightly flaring rim, the white ground decorated in cobalt-blue, green, dark green and red with spring flowers, chintemanis, Buddha-lips, and fish-scale motifs, the foot with a band of scrolls. Founded by Ulisse and Giuseppe Cantagalli in Florence, the Cantegalli ‘Iznik-style’ ceramics can be identified by their signature cockerel marker on the base of the vessels. This unique signature and the non-Iznik typical size and form of many Cantagalli vessels reveals that the producers did not only aim to create fine Iznik copies. For comparable works produced in Cantagalli workshops in the Iznik-style with fish-scale motifs please see: Giovanni Conti & Gilda Cefariello Grosso, La Maiolica Cantagalli, Cassa di Risparmio di Firenze, Roma, 1990, p. 64. Also see: The Revival of Italian Maiolica: Ginori and Cantagalli, Edizioni Polistampa, Firenze, 2011, pp. 220-224.

Provenance: Private French Collection

CANTAGALLI POLYCHROME POTTERY BOTTLEmagnifing glass

IMPRESSIVE IZNIK-STYLE THEODORE DECK DISH

France, 19th Century, Diameter: 50 cm.

With blue ground finely decorated with tulips, hyacinths, and peony-like blossoms around, the reverse decorated with paired tulips and rosettes, marked TH. DECK. This dish by Theodore Deck is an exact copy of an exceptional Iznik dish, dated 1550-55, in Musée du Louvre (Inv. No. 6643). Please see: Nurhan Atasoy & Julian Raby, Iznik, London, 1989, fig. 363, p. 206. It documents Deck’s mastery in choosing and applying various colours and creating a very similar grace seen in the Louvre dish.

Joseph-Théodore Deck

Théodore Deck was a 19th-century French potter. Born in Guebwiller, Haut-Rhin, in 2 January 1823,
he began learning the trade in his early 20s, moving to Paris at age 24. In 1856 he established his own faience workshop, “Joseph-Théodore Deck Ceramique Française”, and began to experiment Islamic style of ceramic making, and in particular the Iznik style. In the 1880s he also worked in the Chinese tradition,
also collaborating with Raphaël Collin, and other artists of the time. In 1887 he published a treatise under the title La Faïence, which is available in facsimile online. He died in Paris, in 1891.

Provenance: Private French Collection

IMPRESSIVE IZNIK-STYLE THEODORE DECK DISHmagnifing glass

A KUTAHYA CERAMIC BOTTLE DECORATED WITH FLOWERS AND LEAVES

Turkey, 18th Century, Height: 26.9cm

The body of flaring conical form rising to the angled sloping shoulder, the tubular neck with a raised band below the slightly flaring mouth, the white surface painted in typical colours with bands of meandering flowering sprays, leaf-motifs around the neck, the mouth with small floral sprays, large conserved crack on shoulder. A comparable Kutahya bootle is published in Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, p. 67.

Provenance: Private UK Collection 

A KUTAHYA CERAMIC BOTTLE DECORATED WITH FLOWERS AND LEAVESmagnifing glass

IZNIK-STYLE SAMSON DISH DECORATED WITH A PEACOCK

France, 19th Century, Diameter: 55 cm.

This rare and unusual Iznik-style dish by Samson is an exact copy of a highly important Iznik dish (c. 1560-1570) in the Wallace Collection (inv. No. C199), in London. It is painted in exquisite light and dark blue, vibrant coral red and emerald green. In the centre is a peacock resting on a khatai blossom and a saz leaf. The peacock is surrounded by another khatai blossom on the top and a gracefully curved branch adorned with saz leaves and spring flowers. The arrangement, with the peacock in the heart of the composition, forms a round organisation which creates perfect harmony with the form of the dish. The border decoration surrounding the central composition consists of intertwined coral red rumis and blue blossoms with green leaves. The ornamental border creates a rich contrast with the naturalistic central composition. The founder of the ceramics firm Samson, was Edmé Samson (1810- 1891). He was a celebrated producer of porcelain and pottery. Edmé Samson produced highly refined ceramics including works inspired by old masterpieces. Samson, together with Ulisse and Giuseppe Cantagalli and Theodore Deck, is one of the few 19th century European producers who revitalised the glory of selected iconic pieces. A Cantagalli copy of the Iznik dish in the Wallace Collection was recently acquired by the British Museum. The British Museum Cantagalli and the present Samson dishes prove the great attention the Wallace Iznik dish attracted. For comparable works produced in the Iznik-style please see: Florence Slitine’s Samson – Genie de l’Imitation, Paris, 1999; Giovanni Conti & Gilda Cefariello Grosso’s La Maiolica Cantagalli, Cassa di Risparmio di Firenze, Roma, 1990 and The Revival of Italian Maiolica: Ginori and Cantagalli, Edizioni Polistampa, Firenze, 2011.

Provenance: Private Belgian Collection

IZNIK-STYLE SAMSON DISH DECORATED WITH A PEACOCKmagnifing glass

A Rare and Important Iznik 'Potters' Style' Dish

Turkey, Circa 1530-40, Diameter: 36.5 cm

Of rounded form, decorated in underglaze cobalt blue and turquoise, the well decorated with a central lotus palmette on a bed of prunus blossom and encircled by stems of saz rosette, the cavetto with an arcade of cusped cartouches enclosing bouquets of tulips, the rim with a band of interlocking split-palmettes on a blue ground, the reverse with a band scrolling tendrils issuing lotus blossoms.

The "Potters' style" was seen as an abandonment of the formal rumi-hatayi of the Baba Nakkash style. The style was the 'first tentative step towards the exuberant floral naturalism of the second half of the sixteenth century. Their directness of theme is matched by a simpler and more spontaneous draughtmanship. They substitute an almost quirky charm for the intellectual abstraction of rumi-hatayi compositions.' (Please see Atasoy & Raby, Iznik, 1989, p.115).

A Rare and Important Iznik 'Potters' Style' Dishmagnifing glass

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Extremely Rare And Important Iznik 'damascus-style' Pottery Dish Circle Of Musli

Turkey - Circa 1549 - Diameter: 34 cm

Decorated in the ‘saz leaf and rosette’ style in shades of cobalt-blue, turquoise, manganese purple and sage green, all with thin black outlines, with saz leaves forming a central pole medallion containing scale pattern centred on four conjoined trefoils, the medallion surrounded by floral sprays and palmettes bearing saz leaves, the reverse with groups of three tulips alternating with rosettes. The present dish, in the so-called ‘Damascus style’, is an extremely rare example from the most creative and highly prized period of Iznik ceramic production. Produced between circa 1525 and 1555, these wares superceded those painted in cobalt blue and turqoise (made from copper oxide), and include sage green and manganese purple, to achieve a polychrome palette for the first time. The decoration of the present dish is attributable to the circle of master Musli (al-Din), the artist who signed his name on a mosque lamp now in the British Museum, London (inv. no. 87.5-16.1, published by Julian Raby & Nurhan Atasoy, Iznik, London 1989, col. pl. 355). The mosque lamp, dated 956 AH / 1549 AD, was almost certainly commissioned by Sultan Suleyman the Magnificent for the Dome of the Rock in Jerusalem, is the premier documentary object of Iznik pottery. The inscription on the lamp also includes a reference to the local sufi Saint Eşrefzade Rumi and an allusion to the lake of Iznik (attesting the Iznik attribution). Further dating evidence for this group is confirmed by tiles in the mosque of Sultan Suleyman the Magnificent’s vizier, Hadim Ibrahim Pasha, in Silivrikapi, Istanbul. Please see Belgin Demirsar Arli & Ara Altun, Tiles – Treasures of Anatolian Soil – Ottoman Period, Istanbul, 2008, pp. 168-69. The Musli lamp relates to three basins; two in the British Museum, London (inv. no. G.1983.67; 1983.66), and one in the Victoria and Albert Museum , London (inv. no. C.1979-1910), assigned by Julian Raby and Nurhan Atasoy to the circle of Musli (Raby&Atasoy, Iznik, 1989, p. 135). The mosque lamp and the three basins share decorative features including turquoise medallions containing black cloud bands and arabesques as well as a border of white tulips set against blue cartouchesOur dish is undoubtably from the same workshop as the three basins. Closest comparison can be made with the basin in the British Museum (inv. no. G. 1983.67) illustrated above. The palmettes on this basin are strikingly similar to the palmettes on the present dish. These palmettes in both cases are formed by a pomegranate framed by blossoms above and leaves below. The British Museum basin and our dish also share the same use of colour for the palmettes viz turqouise pomegranate, blue leaves, green blossoms. The manganese purple employed in the blossoms, is an unstable, experimental colour, firing anywhere in colour between dark purple and pink. It was superceded in the late 1550s by the well-known sealingwax red. Palmettes of this type are a major component of the saz leaf and palmette style, developed in the first half of the 16th century by the court designer Shahqulu. They can be seen on two kaftans possibly made for sons of Sultan Süleyman the Magnificent, now in Topkapi Palace Museum (inv. no. 13/37 and 13/529), please see Nurhan Atasoy et al, Ipek, London, 2001, pl. 22-23.

Provenance:

Extremely Rare And Important Iznik 'damascus-style' Pottery Dish Circle Of Muslimagnifing glass

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A Rare and Important Kütahya Incense Holder

Turkey, Circa 1740-45, Width: 14 cm

A remarkably similar incense burner of quatrefoil form with a large ornamental handle can be found in the Victoria and Albert Museum (inv. no.35-1892). It is dated to 1740-1745 and painted with bright polychrome tones in the so-called Sivaz style, attributable to a group of pottery with similar decoration either from the town of Sivas (Sebastia), or by a potter from that town (Carswell 1972, vol II, p.34). A second comparable piece, formerly in the Kelekian Collection, can be found in the Cincinnati Art Museum (inv. no.1952-272) (see Arthur Lane, Later Islamic Pottery, London, 1957, p.64).

The present incense holder represents a rare and magnificent example of Kütahya pottery and epitomises its intense chromatic decoration. Due to its unusual form and exceptional decoration this incense-holder scarcely expresses any debt to or descent from Iznik ware. It marks a turning-point in the history of Ottoman ceramics and represent the opening of the Kütahya era. It is an indicator of the richness of the future production of the Kütahya ateliers, including complex pieces such as small tea and coffee wares, jugs, ewers, and oddities such as lemon-squeezers, as well as tiles and hanging ornaments.

It is most probable that such incense burners would have been made for use by the Armenian community in the early eighteenth century, demonstrated by the presence of the seraphim on the base (Crowe 2011). Such seraphim are sometimes illustrated with Orthodox crosses on Kütahya hanging ornaments.

A Rare and Important Kütahya Incense Holdermagnifing glass

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AN EXCEEDINGLY RARE EXAMPLE OF THE EARLIEST ISLAMIC FRITWARE

HONEY-YELLOW GLAZED ‘FUSTAT FATIMID SGRAFFITO’ (FFS) POTTERY JAR Fustat, Egypt, 11th-12th Century, Height: 17 cm.

With inverted pear-shaped body, short cylindrical neck and everted rim. The shoulder with three small lug handles. The buff fritware (or stonepaste) body carved with loose floral motifs, coated in a honey-yellow transparent glaze. The acronym FFS, ‘Fustat Fatimid sgraffito’, was first coined in 1967 by Professor George Scanlon. He used it to describe the earliest examples of Islamic fritware, characterised by a whitish, hard body, enriched with silica and glass particles, also known as stonepaste. Designs on these wares were incised directly into the ceramic body, without any layer of slip, and then covered in brightly coloured transparent glazes, which would pool in the grooves of the decoration. A dab of a differently coloured glaze was often added to the vessels for aesthetic purposes, as is the case with this jar, which features a green mark on its shoulder.

This type of ware first came to light over a hundred years ago when Fredrik Robert Martin and others excavated the rubbish heaps of old Cairo, Fustat. In 1922, Ali Bey Bahgat published FFS material for the first time in his work La céramique égyptienne de l’époque musulmane (Basel, 1922), establishing Fustat as the place of production on the basis of wasters found there. In 1947, Arthur Lane marvelled at the beauty of some of the FFS fragments in the collection of the Victoria and Albert Museum, London, wondering “whether some pieces found at Fustat are not actually Persian imports” (Arthur Lane, Early Islamic Pottery, London, 1947, p. 23-24). Professor Oliver Watson describes such incised wares from Fatimid Egypt as “hidden treasures” of Islamic pottery in his publication, Ceramics from Islamic Lands: The al-Sabah Collection (London, 2004), and remarks on the extreme rarity of complete surviving pieces. Most recently, Dr Umberto Bongianino has devoted to FFS wares three articles appeared in the Bulletino del Museo Internazionale delle Ceramiche in Faenza, Edizioni Polistampta, (2- 2014, 2-2015, 1-2017).

Two published FFS jars of a similar form with characteristic lug handles on the shoulder are known: a green-glazed jar missing its neck in the Victoria and Albert Museum (inv. no. 1777-1897), published in Anna Contadini’s Fatimid Art at the Victoria and Albert Museum (London, 1998, pl. 33, fig. 1), and a blue-glazed jar in the Museum of Islamic Art in Cairo (inv. no. 15490) (fig. 1), published in Bernard O’Kane’s The Treasures of Islamic Art in the Museums of Cairo (Cairo, 2006, fig. 238). There exist at least two more shoulder fragments from similar types of jar: a green fragment in the International Museum of Ceramics in Faenza (inv. no. AB 2230)(fig. 2), published in Bongianino, “And their Figures and Colours Should be Different—Part II” (Faenza 2015/2, p. 23, fig.19), and an unpublished blue fragment from the Abel Collection in the Musée Royaux d’Art et d’Histoire, Brussels (inv. No. 5462)(fig. 3). There are six main glaze colours in FFS: honey-yellow, green, turquoise, purple-brown, dark blue, and colourless. The colours are not homogenous and there are many shades of each. Importantly, there are two wasters in honey-yellow from the collection of Fredrik Robert Martin, found at Fustat, indicating site of production, in the Museum of Mediterranean and Near East Antiquities (Medelhavs Museet) in Stockholm (inv. nos. NM 0416/1922 and NM S.N. 0023) [Figs. 4 and 5]. A honey-yellow glazed FFS fragment in the Benaki Museum, Athens (inv. no. 11123), bears an incomplete inscription which provides a date between 520 AH/1126 AD and 599 AH/1203 AD (Helen Philon, Early Islamic Ceramics, Athens, 1980, p. 263, fig. 590). Another FFS fragment of a large bowl excavated in 1964 by Professor Scanlon gives the date 556 AH/1161 AD (“Preliminary report: Excavations at Fustat, 1964”, JARCE 4, 1965, pp. 23, 26, fig. 40). An almost complete FFS bowl with a yellow-green glaze is set into the brick-work of the church of Sant’Andrea Forisportam in Pisa. The bowl was probably incorporated into the building at the time of its construction in the very early 12th century, which would confirm the 11th-12th century date of production for FFS postulated by Professor Scanlon.

Provenance: Private UK Collection

We would like to thank Dr Umberto Bongianino for his invaluable contribution in preparing this catalogue entry.

AN EXCEEDINGLY RARE EXAMPLE OF THE EARLIEST ISLAMIC FRITWAREmagnifing glass

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Pair Of Tekfursaray Tiles

Turkey - 1st half of the 18th century - Height: 25 cm - Width: 22.5 cm

Of square form, decorated in underglaze cobalt blue, light blue, green and relief red with a design of a flower bouquet. Under Sultan Ahmed III, with the enterprise of Grand-vizier Damad Ibrahim Pasha a tile workshop was established in the Tekfur Saray, in Istanbul, to revive tile production. Damad Ibrahim Pasha established a tile workshop in the so-called Tekfur Palace to revive tile production. The Tekfur Palace was part of a group of Byzantine palaces known collectively as the Blachernae Palaces built up against the land walls overlooking Eyüp. Craftsmen from Iznik kilns came to Istanbul in 1719 and ateliers were established in Tekfur Sarayı which were active between 1725 and 1735, for ten years. Tekfur Saray started production in 1724 or 1725. A trial production probably started around 1720. Most of the tiles are manufactured in 25 x 25cm, dimensions based on Iznik tiles. Tiles produced in Tekfur Saray Palace workshops are found on the Sultan Ahmed III fountain, in the Ayasofya Library, the Ferruh Kethuda Mosque in Balat, the Hekimoğlu Ali Pasha Mosque in Kocamustafapaşa, the Kaptan Paşa Mosque in Üsküdar, the Mehmed Ağa Mosque in Çarşamba, the Kandilli Mosque in Kandilli, and the Holy Mantle Pavilion in the Topkapi Palace. In addition, the Cezeri Kasım Pasha Mosque tiles are dated 1725 and the fireplace of the Fuad Pasha Yalısı, which burnt down in 1864, now in the Victoria and Albert Museum, is signed and dated 1730.

Provenance: Private UK collection

Pair Of Tekfursaray Tilesmagnifing glass

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Important Kutahya Ceramic Rose-Water Sprinkler

Turkey - 18th Century - Height: 18.9 cm

This rare rose-water sprinkler belongs to a small group of 18th century Kütahya rose-water sprinklers renowned for gracefully combining pale blue, light manganese purple, yellow, dark coral red. The incised appliction vertically dividing the body into six elliptic sections is a rare appliction which adds depth to the surface of the bulbous body. These sprinklers were used for serving rose-water following ceremonial events. A comparable 18th century rose-water sprinkler is published in Garo Kürkman’s Toprak, Ateş, Sır, 2005, p. 215. For a similarly incised rose-water sprinkler please see; Toprak, Ateş, Sır, 2005, p. 191. Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, pp. 42-51. Also see the exhibition catalogue: Splendeurs de la Cermamique Ottomane des Collections Suna-İnan Kıraç et du Musée Sadberk Hanım, Musée Jacquemart-André – Institut de France, Istanbul, 2000, pp. 126-131.

Provenance: Private UK Collection

Important Kutahya Ceramic Rose-Water Sprinklermagnifing glass

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An Exceptionally Rare Kütahya Polychrome Bowl

Turkey, Early 18th century, Diameter: 17.2 cm.

Of deep rounded form on a ring foot, decorated in blue, yellow, green and relief red, outlined in black, the exterior with a moulded arcade enclosing flowering plants with dot and cross-hatching motifs, narrow floral band to exterior rim, the interior well with floral medallion, the cavetto with an arcade enclosing the twelve apostles each surrounded by a dot border, the rim with Armenian inscription.
 

This beautiful bowl, which is of outstanding rarity, relates to a Kütahya bowl of similar form and decoration in the Benaki Museum, Athens, that is dated 1722 (Inv. No. 7649).  In both examples the interior is decorated with an arcaded frieze with depictions of the twelve apostles of Christ identified by Armenian inscriptions above.  The exterior of the present example has painted decoration of uncommon delicacy and refinement.

Provenance: Private Swedish Collection 

 

An Exceptionally Rare Kütahya Polychrome Bowlmagnifing glass

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Rare Kutahya Ceramic Bowl

Turkey - 18th Century - Height: 8 cm - Diameter: 13 cm

This bowl belongs to a small group of 18th century Kütahya ceramics renowned for gracefully combining pale blue, light green, yellow, dark coral red. The incised application decorating the body surface is rare. It adds depth to the surface of the body. These bowls were used for serving food during and after ceremonial events. It is a charming example displaying distinctive characteristics of 18th century Kutahya ceramics. A comparable 18th century bowl is published in Garo Kürkman’s Toprak, Ateş, Sır, 2005, pp. 80-81. Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, pp. 26, 32, 34, 36, 37.

Provenance: Private UK Collection

Rare Kutahya Ceramic Bowlmagnifing glass

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Rare And Important Kütahya Tile Decorated With Cherubim

Turkey First half of the 18th Century - Dimensions: 20.5 x 20.5 cm

The present tile belongs to a small group of tiles from the Cathedral of St. James (Surp Hagob) in Jerusalem. Comparable examples have been published by John Carswell (please see: Kütahya Tiles and Pottery from the Armenian Cathedral of St. James, Jerusalem, vol: I, 1972, pl. 43 and vol: II, 1972, pl. 10- 11). Similar decorative motives can be observed on Kütahya incense-holders and hanging ornaments. (please see: ibid, vol: I, 1972, pl. 24, 36, 40, 41). An identical tile from the Suna and İnan Kıraç Collection is published in Osmanlı Seramiklerinin Görkemi - Suna-İnan Kıraç ve Sadberk Hanım Müzesi Koleksiyonlarından, Musée Jacquemart-André – Institut de France, Istanbul, 2000, pp. 138-139. Also see: Asırlar Sonra Bir arada: Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler, Istanbul, 2005, p. 149. Cherubs first appear in the Bible in the Garden of Eden, to guard the way to the Tree of life. In Isaiah 37:16, Hezekiah prays, addressing Yahweh as "enthroned above the Cherubim" (referring to the seat of mercy). Cherubim feature at some length in the Book of Ezekiel. When they first appear in chapter one, when Ezekiel was "by the river Chebar," they are not called cherubim until chapter 10, until he saw "the likeness of four living creatures." (Ezekiel 1:5). The words Cherub and Cherubim appear many other times in the holy scriptures, referring to the Cherubim of beaten gold on the mercy seat of the Ark of the Covenant, and images on the curtains of the tabernacle, and in Solomon's temple, including two Cherubim made of olive wood overlaid with gold that were ten cubits high. Cherubim have an important place in Christian liturgy and Byzantine/Armenian iconography. The present piece is a truly rare and important example documenting the use of Cherubim on Kütahya ceramic tiles.

Provenance: Private French collection

Rare And Important Kütahya Tile Decorated With Cherubimmagnifing glass

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Fine Iznik Polychrome Pottery Jug

Turkey - Circa 1570 - Height: 24 cm

Of compressed globular form with cylindrical neck and S-shaped handle, painted in underglaze cobalt blue, turquoise and relief red and outlined in black with an all over reserved pattern of four-dotted pomegranates interposed by tulips, the rim, base, neck and handle with scroll and geometric bands.

A comparable Iznik jug, decorated with similar motifs is published in Bernard Rackham’s Islamic Pottery and Italian Maiolica, Faber and Faber, London, 1959, pl. 223. Also see: Nurhan Atasoy & Julian Raby’s Iznik, Alexandria Press London, 1994. Another example, decorated in a similar manner, is in the Sadberk Hanim Museum in Istanbul, see Hülya Bilgi, Asırlar Sonra Bir Arada – Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler, Vehbi Koç Vakfı, 2005, p. 72-73. Also see: Hitzel, Frédéric & Mireille Jacotin. Iznik – L’Aventure d’une Collection, Musee National de la Renaissance – Chateau d’Ecouen, Paris, 2005, p. 140-145.

Provenance: Private French Collection

Fine Iznik Polychrome Pottery Jugmagnifing glass

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RARE KUTAHYA CERAMIC DISH DECORATED WITH A BIRD

Turkey, 18th Century, Diameter: 14 cm.

This is a rare Kutahya dish which belongs to a small group of 18th century Kütahya ceramics renowned
for their graceful colours and decoration. These dishes were used for serving food during and after ceremonial events. It is a charming example depicting a bird.

A comparable 18th century dish is published in Şebnem Akalın & Hülya Bilgi’s Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, p. 87. Please also see Osmanlı Seramiklerinin Görkemi – 16. – 19. Yy. – Suna - İnan Kıraç ve Sadberk Hanım Müzesi Koleksiyonlarından, Suna-İnan Kıraç Akdeniz Medeniyetleri Araştırma Enstitüsü, Vehbi Koç Vakfı, 2000, p. 159.

Provenance: Private French Collection

RARE KUTAHYA CERAMIC DISH DECORATED WITH A BIRDmagnifing glass

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RARE IZNIK POLYCHROME POTTERY BOTTLE WITH TOMBAK MOUNTS, DEPICTING PEACOCKS

Turkey, Circa 1575-1580, Height: 32 cm.

Of globular form with tall, narrow neck with tombak mounts, the mounts engraved with floral bands. The bottle painted in blue, green, raised red and black with a design of roses, hyacinths and spring flowers, five birds, probably peacocks, perching on two of the branches. The floral designs, with the distinctive full-blossomed rose, are typical of the reign of Sultan Murad III (r. 1574-1595). This form of Iznik vessel, water bottle or surahi, is excessively rare, please see: Nurhan Atasoy & Julian Raby’s Iznik, Alexandria Press London, 1994, p. 37-49.

Only a handful examples of Iznik pottery depicting such birds have survived. These include dish in the Metropolitan Museum of Art (inv. no. 59.69.1), New York, published in Nurhan Atasoy & Julian Raby’s Iznik, Alexandria Press London, 1994, fig. 484; a second An Iznik dish similarly decorated with a bird, from the Calouste Gulbenkian Museum in Lisbon is published in Maria Queiroz Ribeiro’s Louças Iznik Pottery, Museu Calouste Gulbenkian, Lisbon, 1996, p. 257, No. 93. Another Iznik bottle with tombak mounts from the British Museum (inv. no. OA 1878.1230.466) is published in the exhibition catalogue Turks – A Journey of a Thousand Years 600-1600, Royal Academy of Arts, London, 2005, p. 351.

Provenance:

Private UK Collection
Mansour Gallery Label “Mansour Gallery 2475”

Ex-Collection Label “CCL4360”

RARE IZNIK POLYCHROME POTTERY BOTTLE WITH TOMBAK MOUNTS, DEPICTING PEACOCKSmagnifing glass

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Important Iznik Polychrome Pottery Dish

Turkey - Circa 1580 - Diameter: 30.6 cm

Of deep rounded form, decorated in underglaze cobalt blue, pale turquoise, relief red and olive green, outlined in black, with a central foliate motif issuing sprays of small tulips and rosettes, two large tulips, three large rosettes and three hyacinths, the rim with circular and spiral motifs, the reverse with alternating flowerheads.

The dish displays remarkable individuality in design and superb quality in execution. Its design and colour scheme indicates the truly sophisticated level achieved by the Iznik potters. It belongs to a small group of Izniks decorated with pale turquoise and olive green which is a rare and unusual palette only used for roughly a decade, in 1580s.

The composition and decorative repertoire of the dish originates from the imperial style created in the Topkapi Palace workshops in Istanbul, by master painters working for the court, in this case, master Kara Memi, who was responsible for uniting the classical leaf style (saz üslubu) with the innovative floral style (şükufe üslubu). The graceful and harmonious union of tulips, hyacinths and rosettes, capturing a movement both clockwise and counter clockwise, display a truly successful execution of this courtly style.

For scholarly discussion on the evolution of Iznik pottery during 1580s see: Nurhan Atasoy and Julian Raby, 1994, pl. 723-775. For a similar dish with pale turquoise and olive green see: Iznik – L’Aventure d’une Collection, Musee National de la Renaissance – Chateau d’Ecouen, 2005, plate. 212. A second dish in the Gulbenkian Museum featuring similar olive greens is noteworthy, see;

Iznik Pottery – Museo Calouste Gulbenkian, 1996, p. 160. References: Atasoy, Nurhan & Julian Raby, Iznik, Alexandria Press London, 1994. Ribeiro, Maria Queiroz. Iznik Pottery – Museo Calouste Gulbenkian, Lisboa, 1996 Iznik – L’Aventure d’une Collection, Musee National de la Renaissance – Chateau d’Ecouen, Paris, 2005

Provenance: Private French Collection

Important Iznik Polychrome Pottery Dishmagnifing glass

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A Rare Iznik Pottery Jug

Turkey - Circa 1540 - Height 20.2 cm

The body of globular form supported on a broad footring, the high cylindrical neck slightly everted toward the rim, an s-shaped handle ring from the rim to the shoulder, decorated in underglaze cobalt blue and turquoise with chintamanis and paired white tulips, the footring exterior and interior with a pale yellowish glaze.

Turquoise had entered the Iznik palette by the 1520s. It was replaced to some extent by a style of decoration using the new blue and turquoise palette with what seems like a greater artistic independence, the so-called ‘potter’s style’ (Atasoy&Raby 1989, p. 115). The turquoise, cobalt-blue and pale blue palette was continually used throughout the 16th century as can be observed in the present jug. A comparable jug decorated with paired tulips, although on a white ground, is published in Bernard Rackham, Islamic Pottery and Italian Maiolica, London, 1959, pl. 42.

Provenance:

A Rare Iznik Pottery Jugmagnifing glass

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IZNIK POLYCHROME JUG

Turkey, Circa 1580 -1590, Heigth: 23 cm.

The pear-shaped pottery body painted with alternating diagonal green and white bands, the former with central black stripe and border, the latter with dark blue central stripe, with a band of double circles at the upper border. An Iznik jug with comparable alternating diagonal green and white bands, dated to 1580-1590, is in the Victoria and Albert Museum, London (Inv. No. 203-1887). A jug with similar design, with Elizabethan silver-gilt mounts (r. 1558-1603) was sold at Christie’s on 19 November 2002 (Lot 144: “An Elisabeth I silver-gilt mounted Iznik jug. London, 1586, maker’s mark IH in shaped shield”).
The jug is published in Nurhan Atasoy & Julian Raby’s Iznik, Alexandria Press London, 1994, fig. 775.

For comparable Iznik jugs with alternating scroll designs please see: Nurhan Atasoy & Julian Raby’s Iznik, Alexandria Press London, 1994, figs. 605-607. The Christie’s jug which had arrived in England during the reign of Queen Elizabeth I shows that by the 16th century the British were already collecting Iznik pottery. The fact that the Christie’s jug was adorned with silver-gilt mounts, attests the great value in which it was held.

Provenance:

Private English Collection
Mrs Loundras Collection –
Brought from Alexandria, Circa 1960

IZNIK POLYCHROME JUGmagnifing glass

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A Rare Blue And White Kutahya Ceramic Rose-water Sprinkler

Turkey - 18th Century - Height 19.8 cm

This charming rose-water sprinkler belongs to a small group of ceramics used for serving rose-water following ceremonial events. A comparable rose-water sprinkler is published in Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, pp.

42-51. Also see the exhibition catalogue: Splendeurs de la Cermamique Ottomane des Collections Suna-İnan Kıraç et du Musée Sadberk Hanım, Musée Jacquemart-André – Institut de France, Istanbul, 2000, pp. 126-131.

A Rare Blue And White Kutahya Ceramic Rose-water Sprinklermagnifing glass

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Rare Tekfur-saray Pottery Tile

Turkey - 1st half of the 18th century - Height: 25 cm - Width: 22.5 cm

Of square form, decorated in underglaze cobalt blue, light blue, green and relief red with a design of a flower bouquet.

Under Sultan Ahmed III (r. 1703-1730), with the enterprise of Grand-vizier Damad Ibrahim Pasha a tile workshop was established in the Tekfur Saray, in Istanbul, to revive tile production. Damad Ibrahim Pasha established a tile workshop in the so-called Tekfur Palace to revive tile production. The Tekfur Palace was part of a group of Byzantine palaces known collectively as the Blachernae Palaces built up against the land walls overlooking Eyüp. Craftsmen from Iznik kilns came to Istanbul in 1719 and ateliers were established in Tekfur Sarayı which were active between 1725 and 1735, for ten years. Tekfur Saray started production in 1724 or 1725. A trial production probably started around 1720. Most of the tiles are manufactured in 25 x 25cm, dimensions based on Iznik tiles. Tiles produced in Tekfur Saray Palace workshops are found on the Sultan Ahmed III fountain, in the Ayasofya Library, the Ferruh Kethuda Mosque in Balat, the Hekimoğlu Ali Pasha Mosque in Kocamustafapaşa, the Kaptan Paşa Mosque in Üsküdar, the Mehmed Ağa Mosque in Çarşamba, the Kandilli Mosque in Kandilli, and the Holy Mantle Pavilion in the Topkapi Palace. In addition, the Cezeri Kasım Pasha Mosque tiles are dated 1725 and the fireplace of the Fuad Pasha Yalısı, which burnt down in 1864, now in the Victoria and Albert Museum, is signed and dated 1730.

Provenance: Private UK collection

Rare Tekfur-saray Pottery Tilemagnifing glass

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Important Ottoman Cuerda-seca Pottery Tile

Turkey - First Half of the 16th century - Dimensions: 27.2 by 26.8cm

Square form, decorated in underglaze cobalt blue, light blue, green and relief red with a design of a flower bouquet.

of square form, decorated in ultramarine blue, turquoise, green, pale manganese and yellow with black outlines, featuring a symmetrical design based on a central flowerhead from which radiate split-palmettes with lotuses at the centre, and clasps and other flowers between, with pairs of half-flowers at the centre of each side. Tiles of this rare form decorated the panels on the exterior of the Arz Odasi (Hall of Petitions or Throne Room) and the Sunnet Odasi (Circumcision Pavilion) in the Topkapi Palace (see: J.M. Rogers (ed.), The Topkapi Saray Museum-Architecture-the Harem and other Buildings, London, 1988, pls.97 & 111).These particular tiles were the work of a group of Persian craftsmen whose most elaborate accomplishment was the tiling of the interior of the mausoleum of Selim I (1522) as well as the Kasim Pasha Mosque in Bozöyük (1529). They later moved to Jerusalem to assist with the tiling of the exterior of the Dome of the Rock as part of Sultan Suleyman's project to restore the holy sites of Islam. An identical cuerda-seca tile from the Çinili Köşk Museum (inv. no. 41/645) in Istanbul is published in Crossroads of Ceramics – Turkey, where the East and the West Meet, World of Ceramic Exposition Foundation, Joseon Royal Kiln Museum, Kwon Doo Yhun, 2007, vol. II, pl. 24. Also see: Belgin Demirsar Arlı & Ara Altun. Tiles – Treasures of Anatolian Soil – Ottoman Period, Kale Group Publications, Istanbul, 2008, pp. 146-151.

Provenance: Private UK collection

Important Ottoman Cuerda-seca Pottery Tilemagnifing glass

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A Rare Kutahya Ceramic Dish Decorated With Spring Flowers

Turkey - First Half of the 18th Century - Diameter: 15 cm

This dish belongs to a small group of 18th century Kütahya ceramics renowned for gracefully combining pale blue, light green, yellow, dark coral red. These dishes were used for serving food during and after ceremonial events. It is a charming example displaying distinctive characteristics of 18th century Kutahya ceramics. A comparable 18th century dish is published in Garo Kürkman’s Toprak, Ateş, Sır, 2005, pp. 80-81. Also see Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, pp. 26, 32, 34, 36, 37.

Provenance: Private UK collection

A Rare Kutahya Ceramic Dish Decorated With Spring Flowersmagnifing glass

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IZNIK POLYCHOROME POTTERY TILE DECORATED WITH TULIPS AND SAZ LEAVES

Turkey, Circa 1580, Dimensions: 24.1 x 24.6 cm.

Decorated with tulips, saz leaves and khatai blossom in shades of cobalt-blue, turquoise, lavender and coral red, with leaves and tulips forming a border on one side. Comparable tiles with tulips and khatai blossoms from the Mesih Pasha Mosque in Istanbul are published in Ara Altun & Belgin Arlı’s Tiles – Treasures of Anatolian Soil – Ottoman Period, Kale Group Cultural Publications, Istanbul, 2008, p. 257. Tiles with similar khatai blossoms are found on the tiles of the mihrab niche of the Piyale Pasha Mosque in Istanbul, please see: Ara Altun & Belgin Arlı’s Tiles – Treasures of Anatolian Soil – Ottoman Period, Kale Group Cultural Publications, Istanbul, 2008, p. 211.

Provenance: Private Dutch Collection - Bought in Amsterdam in 1978

IZNIK POLYCHOROME POTTERY TILE DECORATED WITH TULIPS AND SAZ LEAVESmagnifing glass

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Unusual Samson Candlestick With Bouddha-lips After An Iznik Original

France - 19th Century - Height: 20.5 cm - Diameter: 16. cm

With slightly tapering cylindrical body and flat wide shoulder, mouth with flaring rim, underglaze painted stylised green wave and lip motifs around both the upper and lower parts of body. The inside with a label stating ‘chandelier vieux Damas’ (candlestick old Damas) with the collection number 8029.

The ceramic workshop founded Edme Samson in Paris, in 1845, produced some of the most brilliant imitations of Iznik and Kutahya pottery as well as Chinese and European works virtually indistinguishable from the originals. Please see Florence Slitine, Samson genie de l’Imitation, Paris, 2002.

The Iznik prototype for this piece is published in the exhibition catalogue Exposition d’Art Musulman, Alexandrie, 1925, pl. 34. Another Iznik original with bouddha-lips design, this time a bowl, is in the Sadberk Hanim Museum in Istanbul, see Hülya Bilgi, Asırlar Sonra Bir Arada – Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler, Vehbi Koç Vakfı, 2005, p. 44-45. For other published examples of Samson’s work based on Iznik and Kütahya production, see ibid, pp. 75-77. 

Provenance: Private French collection

Unusual Samson Candlestick With Bouddha-lips After An Iznik Originalmagnifing glass

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Iznik Pottery Tankard

Turkey - Circa 1580

Provenance: Private UK collection

 

Iznik Pottery Tankardmagnifing glass

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A Rare Kutahya Ceramic Rose-water Sprinkler

Turkey - 18th Century - Height 17.3 cm

This charming rose-water sprinkler belongs to a small group of ceramics used for serving rose-water following ceremonial events. A comparable rose-water sprinkler is published in Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, pp. 42-51. Also see the exhibition catalogue: Splendeurs de la Cermamique Ottomane des Collections Suna-İnan Kıraç et du Musée Sadberk Hanım, Musée Jacquemart-André – Institut de France, Istanbul, 2000, pp. 126-131.

Provenance: The Collection of Argine Benaki Salvago

A Rare Kutahya Ceramic Rose-water Sprinklermagnifing glass

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Rare Kutahya Pottery Covered Bowl

Turkey - 18th Century

Provenance: Private UK collection

 

Rare Kutahya Pottery Covered Bowlmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

Circa 1600

Iznik Dish Decorated With Flowersmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

17th Century

Iznik Dish Decorated With Flowersmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

17th Century

Iznik Dish Decorated With Flowersmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

Circa 1580

Iznik Dish Decorated With Flowersmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

Circa 1580

Iznik Dish Decorated With Flowersmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

Circa 1580

Iznik Dish Decorated With Flowersmagnifing glass

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Iznik Dish Decorated With Flowers

Turkey

Circa 1580

Iznik Dish Decorated With Flowersmagnifing glass

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RARE KUTAHYA CERAMIC BOWL

Turkey, 18th Century, Height: 7.3 cm., Diameter: 12.8 cm.

This bowl belongs to a small group of 18th century Kütahya ceramics renowned for gracefully combining pale blue, light green, yellow, dark coral red. The incised appliction decorating the body surface is rare. It adds depth to the surface. These bowls were used for serving food during and after ceremonial events. It is a rare, charming example displaying distinctive characteristics of 18th century Kutahya ceramics. A comparable 18th century bowl is published in Garo Kürkman’s Toprak, Ateş, Sır, 2005, pp. 80-81. Please also see Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri, Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, pp. 26, 32, 34, 36, 37.

Provenance: Private French Collection

RARE KUTAHYA CERAMIC BOWLmagnifing glass

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