The beginnings of the Suna and İnan Kıraç Foundation’s Kütahya Tiles and Ceramics Collection date back to 1980s. Today the collection consists of over 800 pieces representing various periods, especially the 18th – 20th centuries. The limited number of pieces on display have been chosen to give a general idea of the collection and the craftsmanship of Kütahya ceramics.

Suna and İnan Kıraç Foundation Kütahya Tiles and Ceramics Collection brings together remarkable examples of the art of Kütahya tiles and ceramics from the 18th century to the 20th century.

As the second most important center of ceramic production after İznik during the Ottoman era, Kütahya witnessed intensive ceramic production in the Phrygian, Hellenistic, Roman, and Byzantine periods, and has upheld this art form to date with traditional methods. Having reached its zenith in the 17th and 18th centuries in terms of creativity, the ensuing years witnessed a decline in variety and production rate of Kütahya tiles and ceramics. It was once again revived in the late 19th century and, standing somewhere between İznik and Çanakkale ceramics as “urban art,” became an integral part of the Ottoman art mosaic with its broad product range and continuity.

The beginnings of the Suna and İnan Kıraç Foundation’s Kütahya Tiles and Ceramics Collection dates back to the 1980s, and over the years it has grown to become one of the most outstanding collections of its kind. Today the extensive collection consists of nearly 1000 remarkable pieces representing various periods and styles.

The collection offers an unparalleled variety of embellishments and forms, while holding an important place in terms of quantity. The variety of objects used often in daily life can be traced through the collection. The objects including bowls, plates, sugar pots, jars, cups, tumblers, mugs, creamers, pitchers, waterpipes, vases, percussion instruments, cubes, planters, incense burners, bobbins, pipes, cigarette holders, egg holders, match boxes, salt and pepper shakers, spice pots, confectionery bowls, fruit bowls, appetizer bowls, trays, teapots, lemon squeezers, spittoons, lamps, candle holders, candelabras, piggy banks, ornaments, spoon holders, table clocks, cigarette boxes, ashtrays, door handles amongst others, have been produced in a myriad of forms. In addition to these objects there are ornamental figurines, tiles for walls and ceilings, and tiles for covering coffee tables. These ceramics and tiles, featuring specialties of different workshops and craftsmen, tell the story of three hundred years.

Section

Pitcher
end of the 19th century – beginning of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, yellow, and aubergine purple decoration. Outlines are black.
Pear-shaped body, thin cylindrical neck, and ring base. Large, interconnected rumi are repeated on the body, filled with hatayi and rosette blossoms. The tips of the rumi knot at the neck and end with stylised palmettes filled with rosette blossoms. There is a Hilmi Kütahya stamp on the base.

Ewer
second half of the 18th century

White/cream coloured paste, white slip, transparent glaze with underglaze cobalt blue decoration. Outlines are black. Conical body, single handle, pouring spout, and pedestal base.
The handle has been shaped into a C-form with two sharp sections. The neck is short and cylindrical in form, ending in a thin rim. The conical body has been separated into 18 sections, with two alternating embellishments repeated on each section. The first border is lined with drop-like motifs, whilst the second is embellished with small flowers and leaves connected by a thin stem. The large border at the bottom part of the body is embellished with diamonds decorated with stylised flowers, as well as half-diamonds inbetween. On the cylindrical neck, narrowing towards the rim, we see two borders comprised of leaves shaped like heart motifs, in two different sizes. The middle part of the neck has been decorated with coiled grooves with cross-hatching on the surface. There are thin lines between the grooves. The part around the rim is shaped like a cup, with convex grooves. There are drop motifs and cross-hatching on the handle. The spout, folding outwards starting from the bottom part of the body, has been decorated with stylised flowers and leaves placed on a curved stem. Between the spout and the body there is a plaque with openwork.

Table clock
first half of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, yellow, black, and green decoration. Outlines are black. The clock has two handles and rises on a conical, rectangular base with segmented feet. The circular space for the clock itself is empty. The base is embellished with small curved spirals, rosette blossoms and dahlias. There is a chain motif bordering the are between the base and the body. There is a bird figure on the body, perched on long branches issuing from the base. There are small stems around the bird, with leaves and buds. The space for the clock is encircled by rosette blossoms. The curved handles feature zigzag motifs. At the very top there are three roses, with the largest at the centre. The back of the clock is glazed.

Percussion instrument (Goblet drum)
mid-20th century

White/cream coloured paste, white slip, transparent glaze with underglaze yellow, cobalt blue, turquoise, brownish red, aubergine purple, black, and green decoration. Outlines are black.
Half-sphere body, everted, rippled base, profiled, cylindrical neck. Similar to a vase in form.
The body is separated by horizontal, sectioned bands, and each section is filled with leaved rosette blossoms in threes. One section is filled only with red flowers, whilst the other one features a combination of aubergine purple, red, and navy flowers. The same decoration also features on the base. The border connecting the body and base is separated into triangles, which are themselves separated into squares or filled with small spirals.

Figurine of a rooster and chicken
second half of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze red, blue, black, yellow, and green decoration. The figurines of a rooster and chicken stand on a base in the form of a hill. The rooster stands proud, whilst the chicken pecks at food on the ground. Believed to be the work of “Ahmet the Drunkard”.

Plate
beginning of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze cobalt blue, brownish red, turquoise, yellow, and aubergine purple decoration. Outlines are black.
Slightly concave body and ring base. At the centre of the plate there are three cartridges placed on top of one another, inside of which “müsâvât (equality), “yaşasın” (long live), “fi 11 Temmuz sene 1324” (11 July 1908) is written in Arabic script, going top to bottom. The cartridge in the middle is styled as a vase containing a rose, violet, and hyacinths. There are two large dagger-shaped leaves around the edge of the plate.
The base has a “Hilmi Kütahya” stamp.

Double-handled vase
second half of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze yellow, cobalt blue, brownish red, yellow, and black decoration. Pear-shaped body, everted rim, two handles, and pedestal base. There is a tier between the body and the neck. On the body there are lion heads in relief, on a cobalt blue base. The six lion heads have been moulded, showing their manes, mouths and teeth in detail. On one of the lion heads large letters spell out H.Ç., assumed to be the initials of the commissioner or the intended recipient. Hexagons are repeated on the thin border around the bottom half of the body.

Creamer
first half of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, and yellow decoration. Outlines are black. Conical body, profiled cylindrical neck, beak-shaped spout, and flat bottom. On the body we see highly stylised flowers, which could be tulips or healianthus flowers, placed upside down in sectioned objects resembling vases, along stems with leaves. The spaces inbetween have been embellished with half-dahlias. The neck has been separated into two parts through profiles; the bottom part has been decorated with curved leaves, whilst the top has been embellished with stylised leaves connected by spots. On the beak-shaped spout there is a tulip motif. The square-cut handle is covered with stylised leaf motifs, with decorations made up of spots on the sides.

Figurine of a peacock
mid-20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, green, turquoise, and yellow decoration. Outlines are black. It is figurine of a peacock perched on a round-based, cylindrical pillar. The peacock has a thin, graceful neck and a closed tail that hangs down to the bottom of the pillar. The feathers of the wings have been emphasised with gentle grooves, and embellished with colourful, small spots. The pillar is embellished with large leaves, stylised flowers, and branches of grape. The neck was broken in the middle and restored. Believed to have been made by “Abdurrahman Özer” (1924-1985).

Sugar Pot
second half of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, yellow, light purple, and green decoration. Outlines are black.
Cylindrical body, with a lid and ring base. On the body and the lid, there are segmented half-cartridges filled with half rosette blooms and leaves. Other areas are decorated with spiral, curved circles. On the rims of the body and the lid there is a border with a meander motif.
The lid handle is shaped like a cat figurine. The cat sits on its hind legs with its tail curled around it. On its neck there is a collar with leaves and a palmette.

Plate with figures
end of the 19th century – beginning of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze cobalt blue, brownish red, brown, green, yellow and aubergine purple decoration. Outlines are black.

Slightly concave body and ring base. One of the series of four plates depict the story of Geneviève. GENEVIÈVE is written in Greek and Latin script on the top of each scene, and each scene is given a number. There are two Genevièves in Christian iconography.

The first is Geneviève of Brabant. This is a religious character whose romantic story and suffering has been depicted in poetry, plays, and paintings. Geneviève is falsely accused of cheating on her husband by a steward. Her husband orders her death. Howeveri those tasked with killing Geneviève decide against doing so and leave her on her own in the forest. Geneviève gives birth to a baby with the help of a doe and brings it up. Years later she meets with her husband as he is hunting in the forest. After her explanations her husband believes in her innocence. The slanderous steward is left to die and Geneviève returns home (Clemet 2004).

The second is St. Geneviève, the protector of Paris. She was born in Nanterr in 419, died in 512 in Paris, with 3 January dedicated to her. St. Germain of Auxerre and St. Lupus of Troyes left Gaul for Britain to fight pelagianism (Gregory 1991) in 429, and stopped at Nanterr, Geneviève’s village. They are welcomed by the villagers and St. Germain notices Geneviève in the crowd whilst he is preaching. Upon learning that Geneviève has dedicated herself to the service of God he tells her family that she will lead a sacred life; that a lot of young virgins will take her example and dedicate themselves to God. As he is leaving the village he gives Geneviève a medallion with a cross, blessing her and telling her to keep it as a reminder of her dedication to Christ. Leading a holy life in her village Geneviève moved to Paris after the death of her parents and lives with her godmother. When Atilla is about to attack Paris everyone panics and tries to flee. However Geneviève stops them, telling them that God will not grant passage to pagans. Following this, when Atilla does not attack afterall, Geneviève is accepted as the patron saint of Paris (Catholic Encyclopedia, Clemet 2004).

When the stories of the two saints are compared, the four plates in Pera Museum’s collection fit better with the story of Geneviève of Brabant, despite the fact that St. Geneviève, the patron saint of Paris, is better known. The plates are numbered to present the story in its entirety, depicted in a poetic manner. “ΜηνΑταστ?ηΑβρααμ ολου” is written at the back of the plates, in Greek script. The word “Abraamoglu” is legible, although the others are less clear. The story depicting the life of Geneviève of Brabant is European in origin, and these plates must have been produced on commission by Armenian or Greek masters from Kütahya.

Table Lamp
Mid-20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, yellow, black, and green decoration. Outlines are black. The ornament is placed on two cylindrical pillars, in turn placed on a cylindrical platform with three feet. The piece is covered with a flattened dome reminiscent of hat, and decorated with flowers, animals and objects. There are open-mouthed snakes around the pillars placed on the cylindrical platform. Between these pillars there is a gramophone-like vase, resting on two smaller vases. There are large roses in the middle, and smaller ones in the corners. There is a bird on the dome-like cover, with a serpent in front as well as colourful roses and large leaves. At the edges of the cover there are half-rosette blossoms and borders comprising of braided motifs. The cylindrical platforms is topped with half-cartridges embellished with palmettes and rumi, surrounded by small leaves and rosette blossoms. The pillars carrying the platform are double-tiered and grooved.

Teapot
Beginning of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze cobalt blue, brownish red, green, black, yellow and turquoise decoration. Outlines are black. Spherical body, with a spout, lid, and single handle, and ring base. The lid has steam holes. There are rosette blossoms, tulips and dahlias on the body, as well as leaves. The border around the rim features zigzag shaped stylised plant motifs.

The spout is covered with curved spirals, with a rosette blossom placed at the front. There are stylised flowers formed of black spots on the handle. The plant motifs seen on the body are repeated on the lid.

Pitcher with a Single Handle
End of the 19th century – beginning of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, aubergine purple, and green decoration. Outlines are black. Spherical body, everted rim, thin cylindrical neck, single handle, and ring base. Large flowers with eight leaves are repeated on the body, placed in curved cartridges ending in palmettes. Between the palmettes there are vervain flowers placed on stems, as well as flowers with long leaves. Raised spots are added to the motifs at certain intervals. The rectangular handle, which curves outward at the bottom, features the same vervain flowers seen on the body.

Pitcher with a Single Handle
Second half of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, and turquoise decoration. Outlines are red and black. Shaped as a stylised giraffe, with a single handle and a flat bottom. The body has been embellished with giraffe figures. On the front part of the pitcher there is decoration comprised of diamond shapes. The handle is segmented and features openwork. Hamdi Çinicioğlu is written on the bottom part.

Tile
End of the 19th century – beginning of the 20th century

White/cream coloured paste, white slip, transparent glaze with underglaze brownish red, cobalt blue, turquoise, aubergine purple, yellow, and black, decoration. Outlines are black. There is a large Mevlevi coin at the centre. There is a black cap at the top featuring the tughra of Sultan Abdülhamit II and “el gazi” and “ya Hazret-i Mevlana” written in Arabic script. There is also the Ottoman State crest at the bottom. Star-shaped medallions hang from the crest. The top part of the tile is decorated with a draped curtain, opened to the sides, with rosette blossoms and tassels.

Pera Museum
Pera Museum is an art museum in the Tepebaşı quarter of the Beyoğlu (Pera) district in Istanbul, Turkey, located at Meşrutiyet Avenue No. 65 (adjacent to İstiklal Avenue and in close proximity to Taksim Square.) It has a particular focus on Orientalism in 19th-century art.

Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.

Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour.

Through Suna and İnan Kıraç Foundation’s three permanent collections, “Orientalist Paintings”, “Anatolian Weights and Measures”, and “Kütahya Tiles and Ceramics”, Pera Museum seeks not only to diffuse the aesthetic beauty of these collections but also to create dialogue with the public concerning the values and identities that they encompass. Utilizing a full scope of innovative methods, including exhibitions, publications, audio-visual events, learning activities, and academic works, the objective of transmitting the beauty and importance of these works to future generations is realised. Having organized joint projects with leading international museums, collections, and foundations including Tate Britain, Victoria and Albert Museum, St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, and the Maeght Foundation, Pera Museum has introduced Turkish audiences to countless internationally acclaimed artists. Some of the most illustrious amongst these include Jean Dubuffet, Henri Cartier-Bresson, Rembrandt, Niko Pirosmani, Josef Koudelka, Joan Miró, Akira Kurosawa, Marc Chagall, Pablo Picasso, Fernando Botero, Frida Kahlo, Diego Rivera, and Goya.

Since its inauguration, Pera Museum collaborates annually with national and international institutions of art and education to hold exhibitions that support young artists. All of the Museum’s exhibitions are accompanied by books, catalogues, audio-visual events in addition to learning programs. Parallel to its seasonal programs and events, Pera Film offers visitors and film buffs a wide range of screenings that extend from classics and independent movies to animated films and documentaries. Pera Film also hosts special shows that directly correlate with the temporary exhibitions’ themes.

Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of İstanbul.