A superb inlaid walrus ivory and blue glass Ottoman knife 1700

Artista Desconocido

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Zebregs & Röell - Fine Art - Antiques

• Sobre la obra de arte
  A superb inlaid walrus ivory and blue glass Ottoman knife
  Ottoman Empire, Turkey, probably Constantinople (Istanbul), late 17th/early 18th-century
  
  The hilt is formed of a faceted blue glass, while the blade of steel exhibits faux-watering and is inset with beads of coral at three equidistant slots just beneath the spine. The surface of the blade has also been etched over the greater part of its length with an inscription on one face with a part of the Nada ‘Ali quatrain and on the other with “… Muluk (?) sultan malik tahir (?)” (“… of Kings (?), Sultan Malik Tahir (?)”) among vine tendrils that exhibit remnants of the original gilding. Gilt stellar motifs also line the spine of the blade.
  The scabbard is inset with a generous array of khatamkari roundels depicting celestial motifs with gems, mother-of-pearl and various metals. Of particular splendour are the ebony tesserae, which are overlaid with pointed stars in gold, some of the larger examples decorated at their centres with an inset turquoise or gold concentric circles. The craftsman has expended great efforts to ensure almost no space is left unfilled, inviting the spectator to inspect the scabbard’s surface as one might survey a busy night-sky. It is interesting to note, too, that the central roundel of the front face is decorated on a shimmering white ground in mother-of-pearl, whilst that on the reverse is black (ebony), as if the front and reverse of the scabbard signified the day and night skies respectively. The scabbard’s gilt-silver collar and chape are punched and chased to depict stylised leaves and roundels in imitation of the scabbard’s central surface, and are further inset with small turquoises as well as coloured gem stones, the chape terminating in a cross-hatched acorn finial.
  
  L. 19.7 cm
  
  Provenance:
  With Runjeet Singh, London
  
  This remarkable knife brilliantly exemplifies the artistry so often applied to exceptional pieces of arms and armour, its scabbard proficiently decorated throughout with roundels in a dazzling array of colours and patterns.
  Remarkably, the side of the scabbard shows a zig-zag motif, to some immediately recognizable from Japanese Namban export lacquer ordered by the Portuguese. This lacquerware was not intended for the Portuguese market only and was often given as diplomatic gifts to different courts – also to the Ottoman court. The resemblance is so uncanny that it is tempting to suggest that the craftsman took inspiration from such a piece. After all, it is widely known that at the Ottoman court, too, Chinoiserie was in fashion.
  
  A very comparable knife and scabbard can be found in the Schatzkammer of the Bavarian Palace in Munich (inv.no. 1235 or 1819/20). It probably entered the collection through the Pfälzer Wittelsbacher line, who in the 16th and 17th century were known to collect Ottoman artefacts as Turquerie, also known as Turkomania, was in vogue.
  
  A miniature sword in the Walters Art Museum (access.no. 51.79) exhibits a similar sequence of insets along the back-edge of its blade.
• Sobre el artista

  Puede suceder que un artista o creador sea desconocido.

  Algunas obras no deben determinarse por quién está hecho o por (un grupo de) artesanos. Algunos ejemplos son estatuas de la Antigüedad, muebles, espejos o firmas que no son claras o legibles, pero también algunas obras no están firmadas en absoluto.

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