As the ceramics of İznik, Kütahya, and Çanakkale reached the Aegean and Mediterranean coasts, ceramics, tiles, and porcelains patterned with similar Ottoman motifs such as flowers, leaves, and rosettes, influenced the Greek islands, Athens, Thessaloniki, Rhodes, Crete, the Balkan countries, and a wide geography extending from Hungary to Italy, Spain, France, Germany, England, the Netherlands, and Belgium, and were produced in local workshops. Some were made in the same centuries as the İznik, Kütahya, and Çanakkale examples, while others, driven by the development of trade and tourism during the era, have survived to the present day. While the products of this interaction are abundant in Ottoman-style floral, floral, and similar patterns, we observe a paucity of examples with ships. After the Greek population exchange, from the first quarter of the 20th century onward, we see examples of ship-shaped ceramics primarily in the Greek islands, including Athens (in the Benaki Museum, the Crafts Museum, and the Zachos and Chatzimichali collections), Thessaloniki, and Rhodes. These ceramics were produced in workshops established by Anatolians of Greek origin who migrated from Anatolia during the population exchange. The most diverse examples are those influenced by our port city of Çanakkale, and they send greetings to us from neighboring islands, the Morea, and Rhodes.
The most famous foreign imitation of İznik tiles was the Frenchman Theodore Deck, who developed his technique in the Sèvres workshops and established his own workshop in Paris in 1856. Although he was not particularly successful, he imitated İznik ceramics and tiles extensively and received commissions, especially after the 1860s. Another French ceramicist who followed İznik fashion, Emile Samson, successfully produced a small number of imitations in his workshop near Paris, signing the undersides with his initials, the Arabic letter "S." A cup decorated with galleys in the Ömer M. Koç Collection in Istanbul, signed "Samson," closely resembles a pair in the Kuyaş Collection. Even the letter "Z" adorning the handle is identical. The workshops of Van Straaten in the Netherlands and Villerot et Boche in Belgium, while producing lower-quality imitations than the French workshops, produced products that continued the İznik tradition in Europe.
Italy is one country with a wealth of imitations. The Iznik imitation ceramics produced by the Florentine Ulise Cantagalli starting in 1878 are known for the distinctive rooster emblem on their undersides.
The tile and ceramics factory established by Miklos Zsolnay in Pecs, Hungary in 1880 became famous for its products decorated with various Ottoman-style floral and vegetal patterns, influenced by the tiles he brought from the Near East and Anatolia.
Examples influenced by İznik and Kütahya are more common in ceramics than tiles. For example, a plate produced in Rhodes in the style of İznik ceramics bears the inscription "Kütahya Handmade In Greece 507 Rhodian Pottery" on the back. In addition to plates, we also see examples similar to İznik or Kütahya, such as vases and pitchers, produced in local workshops, particularly in Rhodes.
The wide-rimmed deep plate, patterned with the sgraffito technique, believed to have been made on the island of Sifnos in Greece under the influence of Çanakkale ceramics, features a galleon motif, shaped with engraved brown lines on a cream-colored slip and under a transparent glaze (Öney Gönül, ''Ottoman Ceramics Embracing the Mediterranean and Their Reflections Reaching the Present Day'', pp. 77-85).
