of shallow rounded form, painted in cobalt blue, viridian green, bole red and outlined in black, the well decorated with a pair of confronting harpies flanking a baluster vase surmounted on a rocky outcrop issuing prunus blossom, a ship motif above, radial rosette border, the rim with breaking wave motif, the reverse with alternating cherry bouquets and rosettes

minor rim chips, four drill holes to foot ring, minor surface abrasions to glaze, 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 rare and important Iznik dish belongs to a small group of pieces decorated with animals and mythical creatures which date back to the early sixteenth century (see Eva Baer Sphinxes and Harpies in Medieval Islamic Art, 1965 for a further discussion of this group). Harpies; mythological human headed birds, have been part of the decorative repetoire of Islamic metalwork and ceramics since the eleventh century and often appeared in the repoussé metalwork of the Seljuk period. An early Ottoman silver tankard engraved with Harpies and fantastical animals in the City Art Museum, St Louis, Paris (inv.3425), was possibly the inspiration for this dish. Only two Iznik dishes with this Harpy design are recorded, one is in the Calouste Gulbenkian Foundation, Lisbon (see Atasoy and Raby, 1989, fig.547) and the other is illustrated in Rene Grandjean, Ceramique Orientale, c.1920, Paris, pl.34.