Fountain pen of of gold, silver, diamonds, rubies, hand-painted Ottoman miniatures and two blue topaz stones with reversely engraved flower intaglios.
Even though the keyboard is used more and more, important signatures will continue to be signed by charming, qualified pens. The miniature bouquets of flowers painted on the surface of this unique piece were inspired by the murals of the Fruit Room in the Harem of Topkapı Palace, which was added by Sultan Ahmet III. The top and bottom of the fountain pen are decorated with two blue topaz stones that are reversely engraved with rose intaglios. Flower patterns engraved on a silver surface and framed with rubies and diamonds complete the piece.
Ring of gold, silver, a diverse array of diamond cuts, and tanzanite with reversely engraved dome architecture intaglio.
Over the five hundred years following the conquest of Istanbul, stunning mosques, covered bazaars, mausoleums, hammams and other complexes were built throughout the realm of Ottoman Empire. Many of these were influenced by the magnificence of the Hagia Sophia: Sevan Bıçakçı's trademark dome-shaped ring arose from the same enchantment. To accomplish this difficult task, he sometimes risks sacrificing precious but extremely fragile gemstones - tanzanite in this case - as he puts into it into a carefully engraved domed bazaar intaglio. And even though the stone didn't break by the time the job was finished, it lost almost half its weight as dust that flew away into the air. In this piece, around 200 sparkling diamonds of a variety of cuts are spread across the base to do justice to the hard and beauty that went into it.
Necklace of gold, silver, a diverse array of diamond cuts, and a rock crystal stuffed with enamel pomegranate seeds.
Sevan Bıçakçı was only 12 years old when he learned the tradition of smashing a pomegranate upon the doorstep of his master's atelier to ring in a new year as a way to bring about prosperity and plentitude. Years passed. Then, Sevan Bıçakçı received a beautiful diamond weighing about 12 carats. He placed it at the center of a pendant design in the form of a pomegranate. The two sides around it are flanked by rock crystals, hollowed out and filled with enamel pomegranate seeds to complete the piece. Diamonds selected from the most beautiful shades of brown and musk form an upward-facing tulip flower around the large diamond in the center.
Fountain pen set of black marble, gold, silver and diamonds.
History has seen countless civilizations become victim to rebellion, war, and natural disaster. Some had ports destroyed as rivers brought soil and filled them up. Others found the strategic advantages garnered by their location destroyed by the discovery of new trade routes. Empty foundations and ruined columns are all that remained. In this piece shaped by Sevan Bıçakçı's hands, we see a temple destroyed by war. When you grab its last remaining column and pull it out, you find it's a fountain pen: A reminder that some things still last and stand tall.
Dip pen set of black marble, glass, bronze, gold, silver and diamonds.
A Mevlevi dervish named Mehmed Dede was sent to Venice by the decree of Sultan Selim III (reign 1789 - 1807). There he learned the intricacies of glass blowing. When he returned to Istanbul, he developed a wholly unique style he called Çeşm-i Bülbül (The Nightingale's Eye) due to its resemblance of its namesake. Using this technique, he produce wonderful jugs, vases, bowls, and more. 200 years later, Sevan Bıçakçı has harnessed the philosophies of patience and dedication, central to all of his own work as well, and has put them to us in an object study by designing a Çeşm-i Bülbül pen, worthy of a decree by Sultan Selim III himself. He hopes it's worthy of Mehmed Dede's esteem as well.
Table clock of gold, silver, black and white marble, sandstone, diamonds, rubies and rock crystals with reversely engraved galleons.
Taqī al-Dīn Muhammad ibn Ma'ruf was the chief astronomer of the Ottoman Empire. Under the invitation of Sultan Murad III, he established the largest and most advanced observatory of his time on the hills of Istanbul's Tophane. Many of the instruments he used were of his own invention. He made use of trigonometry, astrolabe inherited from scientists throughout the Islamic world, and clocks with a second hand - a new invention in the era. He left behind inventions that advanced the fields of mathematics, astronomy and optometry. Unfortunately, the observatory he built lasted only for three years. Religious scholars of the period looked with suspicion upon astronomers of the period. They claimed that observatories would bring bad luck wherever they were established. Then a plague outbreak following a comet seen from the observatory gave them the opportunity they'd been seeking. In 1580, they reduced this magnificent work to cannon fodder, despite at its height being rivaled only by the observatory built by Tyco Brahe - Kepler's teacher. Sevan Bıçakçı doffs his cap to the genius of Taqī al-Dīn 500 years later.
Traditional Ottoman Saltanat (Cobana) boat of gold, silver, diamonds, wood and silk fabric.
Following the Ottoman conquest of Istanbul in 1453, the borders of the city began to expand and move beyond the Byzantine walls. Sea transportation rose in importance, thanks to new settlements along the coasts of the Golden Horn and the Bosphorus. New boat types were developed in order to transport the populace of the city, as well as foreign ambassadors, women of the harem, and sultans. The royal boats of the empire were considered special because it was their duty to reflect the glory of the empire. These boats featured an elegant shape, hulls decorated with ornamentation, tortoiseshells, ivory, ebony, leaf and precious stones. They glide with the grace of swans even in the strongest Bosphorus currents. Each of them is like a floating gem. They are included in the diaries of many visitors and ambassadors, featuring beautiful depictions. 200 years has passed since then. A jeweler named Sevan Bıçakçı wanted to learn all the subtleties of this craft, and thus set out to create his own saltanat boat model from real materials, precious metals and stones.
Fountain pen set of gold, silver, diamonds, glass, bone and ebony.
In the 1970s, when Istanbul's population was one-fifth what it is now, the Bosphorus and the shores of the Marmara sea and its islands were like summer resorts. When the weather warmed up, families crowded into boats large and small. Children splashed around in the cool blue waters while parents let fly their fishing lines. As evening fell, elders would prepare dinner with traditional music by the shore. Little did they know, but these wonderful days would soon be missed. Many of these families put these memories down on paper. Perhaps one might look back in fondness over a fountain pen to write these pleasant memories down. They might imagine that unusual boat with a till at its head over a glasslike plane of water as fish frolic underneath. When that till is pulled out of its socket it turns it all into this elegant fountain pen.
Bracelet and ring combination of gold, silver and a diverse array of diamond cuts.
The king cobra: An important symbol of determination, assertiveness, daring, transformation and grace in many ancient cultures. In this piece, the design of the king cobra's jaw functions as a ring. The body and tail allow the bracelet to be easily attached and removed thanks to spring joints that allow for mobility. An array of different cuts of diamonds come together in various shades of cognac and yellow to depict the patterns and texture unique to the snake.
Octopus shaped bracelet and ring combination of gold, silver, diamonds, a baroque South Sea pearl and seed pearls.
Named after the giant octopus mentioned in Jules Verne's "Twenty Thousand Leagues Under the Sea", this piece's playful arms function as both a ring and a bracelet. If you wear it, you might feel like you've been chosen for a wonderful journey. And as those tentacles wind down from your wrist to your fingers, you might wonder: "Are you the subject or is the octopus?"
Bracelet of gold, silver, diamonds and hand-painted Ottoman miniatures.
The space formed at the front when the cuff is closed is framed with black diamonds, and represents the Golden Horn and the thousands of years of history it's paid witness to. The parts that touch the lower wrist offer views from both sides of the Golden Horn, displayed as Ottoman miniatures against a gold leaf background. The rest plays home to a flying flock of seagulls highlighted with white diamonds. The spring-loaded hinge at the back allows the bracelet to open from the front to either side.
Necklace of gold, silver, a diverse array of diamond cuts, and an amethyst with reversely engraved intaglio of a peacock.
Ever since the goddess Hera turned the hundred eyes of her servant Argos into marks on its feathers, the peacock has been the primary representive of watchfulness, beauty and immortality. Peacocks are seen as beautiful. Holistic. Honorable. As if they've fallen from Heaven down to Earth. A new feather replaces one lost. Some believe they never age. They display this beauty with a fearless confidence. They have the ability to understand the past, present and future. Here, we find a peacock surrounded by the sparkling diamonds it deserves. It displays again its proud, solid stance in this wonderful piece.
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