This extremely significant find was picked up on by a number of interested parties who pushed the final price up to £722,500. From entrance hall to major museum Andrew Butler Wheelhouse, Islamic Art specialist: This dish sat for countless years in an entrance hall and was used as a receptacle to throw keys into.With its cobalt-blue scrolling flowers set on a white ground potter dish, it is clearly inspired by Chinese designs but retains a certain sense of geometry and inventiveness that identify it as a rare early blue and white production of Iznik pottery from Turkey.Although it flourished for less than half a century from the 1560-1600, the pottery of Iznik was responsible for some of the most innovative designs of its day and an artistic legacy which lasted for centuries The sleepy rural town of Iznik in northwestern Turkey, still surrounded by the remnants of massive 5th-century Byzantine walls, is chiefly known in the West as old Nicaea, the site of the great Church Council of the year 325 from which emerged the Nicine creed.But Iznik as another identity in the history of art, as the seat of production in the late 15th through the late 17th centuries of the famous Iznik ceramics, which are among the most renowned artistic products of Ottoman culture.Here, the god and his fellow cowherds are shown swallowed by the giant snake.Upon closer investigation, however, we realised that it is the work of the two major Pahari artists, Manaku and Fattu, a father and son working in the 18th century, which explains why this painting made a record price (£181,875) in our 2013 Arts of India sale at Christie’s South Kensington. Read the small print Sara Plumbly, Head of Islamic Art: To be honest, when our Travel, Science and Natural History specialist James Hyslop first presented us with this unassuming object, its significance as one of only three known spherical astrolabes had to be explained to me.
But even though Palissy ware was a more accurate description of Minton’s new line, the work quickly became known as majolica.
) Fjeldsaa, Kaare (NO) signs "KBF" Fidler, Eugène (F, Vallauris) 1910-1990 Finch, Alfred WIlliam 1854-1930 signs AWF (FI?
) Finch, Raymond (GB) 1914- Fives (FR, Lille Bauhaus Friolet, Jacqueline (CH) Frith, David (GB) From, Anette (DK) G Gambone, Guido & Bruno (IT) Ganslmayr, Archibald (CH) Gaillard, Lucien-Amédée (FR) 1861-1933) Gallé, Emile (FR) (1846-1904) Gandais, Henri (FR) Gant, Tony (GB) Gatard, Denise (FR) (1921-1992) Gatti, Ricardo (IT) Royal Copenhagen Gerbino, Jean (FR) 1876-1966 Ghezzani Ceramiche (IT) Gibson, Mary (GB) Gilliard, V (CH?
) art nouveau Ginori, Richard (IT) Giraud, Marcel (FR) 1897-1985 Vallauris Girel, Jean (FR) 1947 Giuge, Marius (FR) 1909-1980 Vallauris Glatzle, Fridegart (DE) Gmundner, Gebr. Vevey (CH) Goldscheider, Friedrich workshop (AT, Vienna) Goor, Auguste Léon (FR) 1864-?
Lunéville/Mougin Gorka, Geza (Ungarn) Keramos Gouda, PHZ workshop, factories (NL) Gouda, Goedewaagen workshop, factories (NL) Gouda, Regina factory (NL) Gouda, Zenith Factory (NL) Goupy, Marcel (FR) (1886-1954) pr.
Throughout the later 14th and earlier 15th centuries Iznik, with its deposits of potter’s clay and its proximity to the forests of Bithynia as a source of firewood fuel for ceramic kilns appears to have been the site of the production of rather ordinary reddish-bodied pottery wares with a distinctive repertoire of designs that enjoyed a wide distribution throughout Asia Minor – known in the archaeological record as ‘Miletus-ware’.