Antique Ottoman

central ottoman designed to be used jointly, allowing for versatile arrangement and comfort. Each section

silk rug from the 1920s is a masterclass in Ottoman textile artistry, embodying centuries of tradition

the composition. Mehmed Ali Pasha (1769–1849), the Ottoman governor and founder of modern Egypt, is

authentic piece from the Ottoman eastern Mediterranean. 48” h. in stand, 32” no stand. 23” diam

techniques with the aesthetic influences of Ottoman Turkey and Andalusia. This specific specimen, with its

Mehemet Ali Pasha, who would later become the Grand Vizier of the Ottoman Empire. Kosler also met many

among antique rugs that successfully bridge classical Ottoman design elements with the softer, more

lobed form and elegant proportions reflect the refined Ottoman metalwork traditions of the late 19th to

finest examples of Ottoman-inspired weaving. Woven entirely from silk, it boasts a luminous sheen that

Ottoman motifs were interpreted with a European sense of balance and color harmony. The detailed

. Borders with China, Central Asia, and the Ottoman sphere reflect contemporary geopolitical understanding

tradition of Western Anatolia. Ushak carpets were highly valued in both the Ottoman Empire and European

style with ottoman/ middle estern motifs The tazza / dish is supported by a nicely detailed Griffin

history, Ottoman-period military subjects, cavalry imagery, and 19th-century European travel illustration

the Eastern Roman Empire in the 1450's, at which time, the area fell to the Ottoman Empire. The vast

gaining important commissions from abroad including the Sultan of the Ottoman Empire and the Emperor

Ancient Ottoman pendant, realized in 19th Century. Metal, enamel, precious stones. Very good

1880s, is a rare and exquisite example of Ottoman-era craftsmanship. Measuring approximately 15 by 10

-Ashraf Qansuh al-Ghuri, one of the last Mamluk rulers before the Ottoman conquest. Inside, the mosque is

upholstered ottoman, this elegant George III butler’s tray is both decorative and functional—a timeless

the late Ottoman period. Rugs of this type were woven in western Anatolia since the Golden Age of the

geometric patterns reflect the artistic traditions of the Ottoman Empire. Ushak carpets are among the most

craftsmen in the early 20th century, carrying the elegance of Ottoman palace tradition to the present day

, floral motifs, or geometric medallions framed by multiple borders. These rugs reflect a refined Ottoman

Moldova and Ukraine—this piece reflects the crosscurrents of French, Ottoman, and Russian influences that

Hereke carpets are a world-renowned symbol of the art of weaving, bringing the splendor of Ottoman

Kuznetsov family, producing faience chiefly for the Ottoman and Central Asian market, where it was much in

Kuznetsov family, producing faience chiefly for the Ottoman and Central Asian market, where it was much in

the refined geometric and floral harmony of early Ottoman ceramic design. The plate features a

borders of stylized foliage and spiral rosettes, hallmarks of Ottoman Iznik ceramics from this period. The

century, stands as a refined example of the Ottoman palace weaving tradition. Crafted entirely from silk

of late Ottoman-era tribal weaving, distinguished by its dramatic geometry and rich, naturally dyed

Ancient Metal Pendant, probably from Turkey or easter countries of the former Ottoman Empire

slave, Maddalena. During the Ottoman Empire and Persian Safavid and Qajar dynasties, Circassian women

1830s–1850s, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was

1830s–1850s, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was

1830s–1850s, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was

1830s–1850s, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was

, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was created during his

exquisite textile exemplifies the masterful artistry of Ottoman silk weaving. Handwoven entirely of lustrous

” — the political and military rivalries surrounding the decline of the Ottoman Empire and the future of

1830s–1850s, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was

, oases Arabia, desert cartography, Islamic world map, Ottoman Arabia, British imperial cartography, trade

Exquisite traditional dress from the Greek Islands, Ottoman Era. Expert hand embroidery and

a shapely tabouret (ottoman). The upholstery is older but could still be used if desired. Total

1830s–1850s, especially during expeditions to Russia, the Crimea, and the Ottoman Empire. This work was

the vibrant history of Usak carpets that once adorned Ottoman palaces in the 15th century. Known for

borders, Ottoman frontier, British India frontier, colonial cartography, imperial rivalry, 19th century

the late Ottoman and Mamluk periods. The design radiates with a refined interplay of cobalt blue

recognizable elements in Ottoman ceramic art. The design features large composite blossoms surrounded by

forms, characteristic of Iznik pottery and Persian faience from the classical Ottoman era. The plate’s

— motifs deeply rooted in the decorative vocabulary of Ottoman ceramics. The border, adorned with

, masterfully rendered by Max Koch, presents a vibrant and symmetrical floral pattern characteristic of Ottoman

—motifs deeply rooted in Persian and Ottoman visual culture. The outer border is filled with rhythmic

counterpoint. Today, this work holds strong appeal for collectors of Middle Eastern history, Ottoman-era

visually balanced. Today, this engraving stands as a remarkable visual document of Ottoman-era Egyptian

green fancy ottoman. Note the detail to the flute. A plain background of the original cream colored pith