woven with a crimson ground, with three plane design of two superimposed ogival lattices in silver metal thread wrapped yellow silk, running counter to each other with fields elongated in a horizontal direction, overlaying an ivory silk lattice of delicate tendrils with tulips and daisies, the overlaying pattern with split-palmette lattice with the intersections alternating with the three ball motif, artichoke and pomegranate palmettes

The colour of this joined panel is in reality a more subtle and attractive cerise. The colour in the printed catalogue image is very bright. In reality more muted and more attractive and does change hue dependent on the light and angle seen. This panel has been mounted onto a stretcher and set in a frame. It is comprised of two joined panels. There is a horizontal join across the centre. There is gold braiding applied to the side edges of this mounted stretcher which is not visible on photograph. The panel has been cut at the top and bottom and turned over onto the reverse (approx. 3cm at the top and 2cm at the bottom) of the stretcher and held in place with strips of red plastic easily removed. The sides of the panel have been applied with 18th century silk. The top horizontal strip of this panel has some small patches in the corners and areas of distress with weakness creating holes in the fabric, especially top-left corner visible as dark shadow areas. There is an additional area of weakness to the ground visible as dark shadow in cerise area in second-row down from top (above cintamani motif). Some oxidisation to silver brocading generally, leaving yellow-ground creating a golden appearance. Some abrasion to the cerise satin revealing the ivory-coloured foundation threads (visible as striations in places). In need of some attention. This has beautiful drawing and balanced composition and attractive colour overall.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. 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 refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones.
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 vivid red silk and metal-thread brocade panel is characterised by an iconic Ottoman design comprising çintamani motifs, tulips and split-palmettes forming an entwined ogival lattice; this textile panel epitomises early sixteenth-century taste at the Ottoman court as influenced by fifteenth-century velvets from Bursa and Italy.

The concentric moon motif was created in the Classical Ottoman period by adding a small second circle within the leopard spot design. The rumi arabesque style decoration, with split-leaf palmettes and stylised foliate motifs connected by spiralling or undulating stems, was popular in the fifteenth century, and the round concentric motifs were introduced into the design from the end of the fifteenth/beginning of the sixteenth century. 

For a very similar fragment, in colouration and design, from the Kunstmuseum, Dusseldorf, dated first half seventeenth century, see Erber 1993, no. G 5/1, pp.134-135.

For a similar panel in design and colouring, (147cm. by 66cm), Turkish, dated seventeenth century, incorporating the same elements of leopard spots, tiger stripes, tulips, carnations, serrated leaves on interlaced scrolling stems, on a cerise ground see King, Colnaghi Exhibition cat., no.10, pp.26-7, fig.10.

For an example of a kemha fabric with similar colouring and design, dated mid-sixteenth century, from the Victoria and Albert Museum, see Gürsu 1988, p.91, pl.75, along with another comparable with an olive green ground, ibid. p.85, fig.64, from the Topkapi Palace Museum, Istanbul. See Sotheby’s, London, 24 April 2012, lot 160, for a comparable kemha brocade fragment, seventeenth century (70 by 34cm), which incorporates the çintamani and the tiger stripes within a similar design. For a comparable which includes the tiger stripes within the design, see a fragment in the Museum of Fine Art, Boston (inv. no. 97.471), (Atasoy 2001, p.205. fig.Cii).