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A CANAKKALE POTTERY DRUM? PROPERTY FROM THE THEO SARMAS COLLECTION Ottoman Turkey or Provinces, early 20th century? Of traditional shape, the globular body resting on a tall conical foot, stepped to the edge, the circular mouth still covered with the original leather, the body with moulded decoration near the mouth consisting of a band of stylised rosettes and diagonal spiralling bands, towards the foot three V-shaped moulded vegetal festoons, painted in copper green at the top and on the foot's edge, with a later rope used as shoulder strap, 55cm high. Provenance: Theo Sarmas collection in London since early 1960s.? Of clear ethnographic interest, this drum is a rare and unusual survivor of the early 20th-century Canakkale pottery production. Taking its distance from other well-known Turkish ceramic manufactures producing the sought-after examples of polychrome-painted glazed Iznik and Kutahya ceramics, Canakkale pottery celebrates the rough simplicity and characteristic Turkish folklore of villages and rural areas. ?anakkale / Canakkale pottery is described by Lane in his Later Islamic Pottery (London, 1957, pp. 65-66) as 'unpretentious but often very attractive peasant pottery'. It seems to have flourished from some time in the 18th century and reached its full expression by the mid to late 19th century (E. French, 'Seeking the Collectors: ?anakkale Jugs in UK Collections' in Souvenirs and New Ideas: Travel and Collecting in Egypt and the Near East, edited Diane Fortenberry, pp. 39 - 43). The town of ?anakkale, giving the name to these ceramics, lies on the south side of the Dardanelles, directly opposite the southern end of the Gallipoli peninsula, in Greece. The name means "pottery castle". The population was mixed until the exchange of Greek and Turkish populations in 1922. After this date, many Greek potters moved back to Greece where they continued to produce ceramics in this fashion (E. French, p. 40). Drums were central instruments in folk celebrations and in special ceremonies and it is likely to believe that their shapes remained rather unvaried through time. It is hard to establish if this drum was produced in Turkey pre-1922 or perhaps, immediately after the move of the Greek potters back to Greece. Only one other example is known and it is preserved at the Folk Art Museum in Istanbul. It shouldn't surprise us that such an unusual and rare ethnographic artwork was part of Theo Sarmas collection. His interest in and eclectic taste for Greek folklore art and customs would have probably made him fall in love immediately with this drum, acting as a reminder of those celebrations and merry moments so crucial in the lives of villagers and fishermen.Notes: Islamic & Indian Art