of square form decorated over a lavender blue ground in green, red, cobalt blue and white, outlined in black with large cloud bands intercepting scrolling tendrils issuing flowerheads, lotus palmettes and saz rosettes

Broken and restored with associated overpainting, some craquelure to glaze, colours generally bright, 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."

Iznik wares with a lavender blue ground such as this example are rare as they were produced during a short-lived phase which pre-dated the introduction of the red slip which came to dominate Iznik decoration (see Atasoy and Raby 1989, no.682). This tile is comparable in style to a tile from the Adda Collection, illustrated in B. Rackham, Islamic Pottery and Italian Maiolica, 1959, no.223, pl.96A. Further objects belonging to this group of lavender-coloured wares include a tankard in the Victoria and Albert Museum (see Lane 1957, fig.45A), a jug in the David Collection, Copenhagen (von Folsach 2001, figs.281&282) and the Sadberk Hanim Museum, Istanbul (see Bilgi 2005, no.15) and a dish in the British Museum (see Carswell 1998, no.68, p.88). For further information on the technique, see J. Soustiel, La Céramique Islamique, 1985, p.334.