A set of fritware corner tiles, painted in green, black, and blue and with a red slip under a transparent glaze
Turkey, Iznik; 3rd quarter of 16th century
Each tile: H: 56.5; W: 29.5 cm
Inventory number 2/1962
The bole-red color that perhaps more than anything else made Iznik ceramics renowned far and wide was introduced in around 1560. In contrast to the other colors, which are traditional glaze pigments, this red is a slip that is frequently found in slight relief under the sparkling transparent glaze, another characteristic of the best products from Iznik.
Once again, local Turkish flora, with flowering cherry branches and roses, grace these tiles in a playful, elegant manner. The tiles formed the opening to a little niche hollowed out of the building’s wall.
Once again, local Turkish flora, with flowering cherry branches and roses, grace these tiles in a playful, elegant manner. The tiles formed the opening to a little niche hollowed out of the building’s wall.
Published in
Published in
C .L. Davids Samling. Fjerde Del : Jubilæumsskrift 1945-70, Copenhagen 1970, no. 24, p. 216;
André Leth: Davids Samling. Islamisk kunst = The David Collection. Islamic Art, Copenhagen 1975, p. 80;
Annika Richert (red.): Islam: konst och kultur / art and culture, Statens historiska museum, Stockholm 1985, p. 139, cat.no. 13;
Kjeld von Folsach: Islamic art: The David Collection, Copenhagen 1990, cat.no. 329;
Kjeld von Folsach: Fabelvæsner fra Islams Verden, Davids Samling, Copenhagen 1991, cat.no. 11;
Kjeld von Folsach, Torben Lundbæk og Peder Mortensen (red.): Sultan, Shah, and Great Mughal: The history and culture of the Islamic world, Nationalmuseet, Copenhagen 1996, cat.no. 363;
Kjeld von Folsach: Art from the World of Islam in The David Collection, Copenhagen 2001, cat.no. 501;
Eric Delpont (coord. red.): Chevaux et cavaliers arabes dans les arts d'Orient et d'Occident, Institut du monde arabe, Paris 2002, cat.no. 76, p. 131;
James W. Allan: “”My father is a sun, and I am the star”: Fatimid symbols in Ayyubid and Mamluk metalwork. The C.L. David Lecture 2000” i Journal of the David Collection, 1, 2003, p. 26, fig. 3;
Almut v. Gladiss (red.): Die Dschazira: Kulturlandschaft zwischen Euphrat und Tigris, Museum für Islamische Kunst, Berlin 2006, cat.no. 32, pp. 81-82;
Kjeld von Folsach, Joachim Meyer: The Human Figure in Islamic Art – Holy Men, Princes, and Commoners, The David Collection, Copenhagen 2017, cat.no. 13;
André Leth: Davids Samling. Islamisk kunst = The David Collection. Islamic Art, Copenhagen 1975, p. 80;
Annika Richert (red.): Islam: konst och kultur / art and culture, Statens historiska museum, Stockholm 1985, p. 139, cat.no. 13;
Kjeld von Folsach: Islamic art: The David Collection, Copenhagen 1990, cat.no. 329;
Kjeld von Folsach: Fabelvæsner fra Islams Verden, Davids Samling, Copenhagen 1991, cat.no. 11;
Kjeld von Folsach, Torben Lundbæk og Peder Mortensen (red.): Sultan, Shah, and Great Mughal: The history and culture of the Islamic world, Nationalmuseet, Copenhagen 1996, cat.no. 363;
Kjeld von Folsach: Art from the World of Islam in The David Collection, Copenhagen 2001, cat.no. 501;
Eric Delpont (coord. red.): Chevaux et cavaliers arabes dans les arts d'Orient et d'Occident, Institut du monde arabe, Paris 2002, cat.no. 76, p. 131;
James W. Allan: “”My father is a sun, and I am the star”: Fatimid symbols in Ayyubid and Mamluk metalwork. The C.L. David Lecture 2000” i Journal of the David Collection, 1, 2003, p. 26, fig. 3;
Almut v. Gladiss (red.): Die Dschazira: Kulturlandschaft zwischen Euphrat und Tigris, Museum für Islamische Kunst, Berlin 2006, cat.no. 32, pp. 81-82;
Kjeld von Folsach, Joachim Meyer: The Human Figure in Islamic Art – Holy Men, Princes, and Commoners, The David Collection, Copenhagen 2017, cat.no. 13;
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