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Dish with Saz Spray Decoration

View through Harvard Museums
The design of this dish incorporates two ingeniously painted floral sprays. Laden with blossoms, the longer stem rises up the middle, angles sharply downward, and then encircles the dish, intersecting the shorter stem. Such meticulously drawn intertwining branches with serrated leaves are characteristic of the ink drawings attributed to Shahquli, an émigré artist from Iran who headed the Ottoman court studio from 1540s to 1556. This studio supplied designs that were then executed in various media. Working with court designs, ceramic artists in Istanbul and Iznik experimented with an increasing range of colors. An expansion from a simpler palette of blue and turquoise, the four colors used on this dish were further enriched with red and emerald green after the 1550s. Its complex design and painting technique, especially the tonal rendering of the purple, distinguish this dish from all other Ottoman ceramics that use this palette, indicating an exceptional undertaking.
Department of Islamic & Later Indian Art Frederick Anthony White London (possibly 1902-1925) sold; [through Christies London 15 December 1925 no. 43] to; E. L. Paget London (1925-1949) sold; [through Sotheby & Co. London 11 October 1949 no. 57]. Fernand Adda Egypt Paris and Rome (by 1959-1967) sold; [through Cyril Humphris London 1-18 June 1967 no. 3]; to Stuart Cary Welch Jr. Warner New Hampshire (1969-2008) by inheritance; to Edith I. Welch Warner New Hampshire (2008-2011) gift; to Harvard Art Museums. Notes: Frederick Anthony White (1842-1933); his sticker is found on the underside of the dish. Fernand Adda (1890-1965) Cairo and Alexandria Egypt Paris and Rome Harvard Art Museums/Arthur M. Sackler Museum The Stuart Cary Welch Collection Gift of Edith I. Welch in memory of Stuart Cary Welch
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Title: Dish with Saz Spray Decoration
Description:
The design of this dish incorporates two ingeniously painted floral sprays.
Laden with blossoms, the longer stem rises up the middle, angles sharply downward, and then encircles the dish, intersecting the shorter stem.
Such meticulously drawn intertwining branches with serrated leaves are characteristic of the ink drawings attributed to Shahquli, an émigré artist from Iran who headed the Ottoman court studio from 1540s to 1556.
This studio supplied designs that were then executed in various media.
Working with court designs, ceramic artists in Istanbul and Iznik experimented with an increasing range of colors.
An expansion from a simpler palette of blue and turquoise, the four colors used on this dish were further enriched with red and emerald green after the 1550s.
Its complex design and painting technique, especially the tonal rendering of the purple, distinguish this dish from all other Ottoman ceramics that use this palette, indicating an exceptional undertaking.

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