comprising of a matching pair, the cerise silk ground with a gilt brocade design of ogival trellis enclosing circular motifs with serrated edges, enclosing flowerheads, with highlights of azure blue woven within the centre of each flowerhead, the upper and lower horizontal lappets with arches enclosing flowerheads flanked by tulips, mounted and sealed within a frame

Colour in reality not as dark as in the printed catalogue photograph, but lighter and more subtle cerise hue. A matching pair, the horizontal band of decoration at the bottom of each panel (each measuring circa 14cm visible height) is a separately woven section later attached to the larger panel above and small stitches are visible on close inspection, one panel has old fold line distortion running vertically through the centre, visible through rosette, centre top below horizontal decorative strip at top. The silver brocaded thread has been tarnished where present and with some losses as visible in the photograph. Elegant pair, both have been professionally mounted and sealed within a frame.
"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."

The highlights of azure blue which are woven within the centre of each flowerhead within the general trellis and palmette design are very subtle and add a touch of elegance to the overall pattern.

These particularly unusual panels follow the design layout of those used for yastik yüzü, in that they have the distinctive horizontal lappets across the top and bottom of the panels, and although it is not always the case yastik often had four sided borders around the main panel, with the lappets across the top and bottom. The present examples are a pair, are brocade and not velvet and are unusually wide proportions; they may have been shortened in length. Heavily brocaded with metal thread which would have caught the light, these yastik would have been very luxurious furnishings. The ogival format was the most common motif used by the kemha weavers, and they interpreted it in a variety of designs, which became increasingly complicated by the end of the seventeenth century.

For comprehensive discussion of kemha and the ogival designs, see Gürsu, Nevber, The Art of Turkish Weaving, Designs through the Ages, Istanbul, 1988, pp.67-92.