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The Sadberk Hanım Museum (Sadberk Hanım Müzesi) is a fantastic private museum in Istanbul, Turkey. It’s housed in a pair of historic mansions in the village of Büyükdere, which is on the European side of the Bosporus in the Sarıyer district.
Introduction to the Sadberk Hanım Museum
The Sadberk Hanım Museum was founded in 1974 by Vehbi Koç (1901-1996) in memory of his wife, Sadberk (1908-1973). It was the first private museum in Turkey and it opened to the public on October 14, 1980. The museum initially consisted of Sadberk’s private ethnographic collection, which numbered roughly 3,000 artifacts. It has grown to over 20,000 through donations and purchases. The museum will relocate to the Tersane Istanbul development on the Golden Horn sometime in the future (as of May 2025).
Azaryan Mansion
The museum is housed in two historic mansions. The first building is the Azaryan Mansion (Azaryan Yalısı), which was built at the end of the 19th century by a family of Armenian Catholics originally from Sivas. It’s a three-story building with crossed wooden moldings on the façade. These moldings gained it the nickname Threaded Mansion (Vidalı Yalısı). The building contains 400 square meters (4,300 square feet) of floor space.
The Koç family purchased the mansion in 1950 and used it as a summer home. They decided to restore it and convert it to a museum in 1978 and hired architect Sedat Hakkı Eldem (1908-1988) to carry out the project. The Azaryan Mansion houses the collection of Turkish and Islamic arts.
Sevgi Gönül Wing
After the death of businessman Hüseyin Kocabaş (1909-1981), the museum acquired his archaeological collection. To accommodate the new additions, the Vehbi Koç Foundation purchased the dilapidated mansion next door. It’s believed to have been built in the early 20th century. The mansion was restored by architect Ibrahim Yalçın with the façade brought back to its original form.
The building was named the Sevgi Gönül Wing after Koç’s daughter (1938-2003) and increased total exhibition space to 625 square meters (6,730 square feet). It was honored with the Europa Nostra Award as a fine example of a contemporary museum for its exhibition layout. Inside is the archaeological collection.
Visiting the Sadberk Hanım Museum
The Sadberk Hanım Museum is open daily except Wednesdays. Admission is 350₺ for adults, 250₺ for holders of a Museum Pass Istanbul or Museum Pass Türkiye, 80₺ for students, and free for kids under 6 and seniors age 65+ (as of May 2025). The museum has a gift shop and tea room.
The easiest way to get to Büyükdere is to take the Metro on line M2 to the Hacıosman stop and hop on the 25A, 25G, or 25Y bus, which all pass through the neighborhood. The ferry terminal has service every hour or so on the City Ferry Lines (Şehir Hatları) from Eminönü and Beşiktaş.
Archaeological Section of the Sadberk Hanım Museum
The Sevgi Gönül Wing houses the archaeological collection. It covers Anatolian civilizations dating from the 6th millennium BC through the end of the Byzantine period, presented in chronological order.
First Floor
On the first floor are artifacts from the Prehistoric and Protohistoric periods, continuing with the Late Neolithic and Early Chalcolithic periods. Next is the Bronze Age, with artifacts from the Assyrian Trade Colonies period. It ends with Phrygian and Urartian works from the Iron Age.
Early Bronze Age
The Early Bronze Age in Anatolia is associated with several different civilizations and cultures. They varied in complexity from small village-based societies to large fortified settlements. Many participated in long-distance trade networks to exchange metals like copper and tin, which were crucial for bronze production.
Old Assyrian Trade Colonies
The Old Assyrian Trade Colonies period lasted from roughly 1975 to 1730 BC during the Middle Bronze Age. The Assyrians established trading posts to exchange goods between Mesopotamia and Anatolian civilizations. These included tin and textiles from Assyria, and gold, silver, and copper from Anatolia.
Kingdom of Phrygia
The Phrygians appeared in western part of Central Anatolia in the 8th century BC and were called Mushki in Assyrian sources. Their capital was Gordian, which is near the modern city of Polatlı, and their civilization disappeared with a Persian invasion in the 4th century BC. Phrygian artifacts on display include funerary offerings, bowls, vessels, pins, and more.
Kingdom of Urartu
The Kingdom of Urartu dominated Lake Van, in Eastern Anatolia, from the 9th through 6th centuries BC. They were the successors of the Hurrians and ancestors of the Armenians. The Urartians were skilled metalworkers and their works have been found as far away as Greece and Italy. On display are pots, vases, and bowls; pins decorated with animals and birds, and geometric and floral motifs; and belts.
Second Floor
On the second floor are artifacts from the Mycenaean, Geometric, Archaic, Classical, and Hellenistic periods.
Mycenaean Period
The Mycenaeans arrived in Anatolia sometime in the 16th century BC. Artifacts have been found on the Aegean and Mediterranean coasts. Their art was influenced by Crete. On display are vessels and jewelry.
Geometric Period
The Geometric period developed in cities in mainland Greece. It was the result of Aegean migrations and the destruction of cultures through major invasions. The Geometric style spread to Anatolia and was embraced by the Carians in Southwestern Anatolia. The period lasted from the 11th century BC until the 8th century BC. Several ceramic vessels with geometric decorations are on display.
Archaic Period
The Archaic period followed the Geometric period. It lasted from roughly 750 BC to 480 BC and was a time of political transformation and cultural exchange. It saw Greek colonization and the rise of city-states, and many of those cities became part of the Persian Empire by the late 6th century BC.
Classical Period
The Classical period, which lasted from roughly 475 BC to 400 BC, was the result of the fusion of Anatolian Greek and Persian cultures. During this time, the true anatomical structure of the human body was depicted in sculptures, and the red-figure technique of pottery was developed.
Hellenistic Period
The Hellenistic period in Anatolia began with the death of Alexander the Great in 323 BC and lasted until it gradually came under Roman control in 31 BC. Alexander’s empire was divided into kingdoms that ruled different sections of Anatolia. Greek art, language, architecture, religion, and political structure dominated all aspects of society.
Third Floor
On the third floor you’ll find works from the Roman and Byzantine periods.
Roman Imperial Period
The Roman Imperial period lasted from 27 BC until the division of the Roman Empire in 395 AD. Although the Greek language and culture dominated, Roman law was introduced and Anatolia became a prosperous part of the empire. Cities such as Ephesus, Pergamon, and Smyrna flourished and the region’s agriculture contributed significantly to the economy. The area also played a crucial role in the spread of Christianity.
Among the artifacts on display are glass objects. The glassblowing technique was invented towards the end of the Hellenistic period and was used extensively for mass production during the Roman Imperial period.
Byzantine Period
After Constantinople became the new capital of the Roman Empire in 330 AD, Anatolia became its economic and political core. Christianity took hold and eventually shaped the region’s identity. From the 7th century onward, however, Arab and Persian invasions followed by defeat by the Turks led to the fragmentation and eventual decline of the Byzantines, culminating in the Fall of Constantinople in 1453.
Jewelry
While walking between the floors, there are plenty of artifacts on display in the stairwells. They include Hellenistic and Roman period jewelry and beads.
Lamps
Oil lamps dating as far back as the 2nd century during the Roman Imperial period are also in the stairwell. The lamps, consisting of a reservoir to hold oil and a nozzle to place a wick, dominated the Mediterranean. They were originally produced using a potter’s wheel, but by the 3rd century they were made using molds. Decorations covered a variety of subjects. The lamps were used for illumination, votive offerings, and funerary gifts. Both the Greeks and Romans kept lamps burning in temples day and night.
Coins
The coins are displayed in chronological order in cases placed in the stairwell. One section contains Archaic, Classical, and Hellenistic coins, each labeled with the kingdom, material, year, and who’s depicted on the face. Other sections include Roman Imperial coins depicting 33 different emperors from Augustus through Valentinian II as well as coins from the Ottoman Empire and early Turkish Republic.
Turkish and Islamic Arts Section of the Sadberk Hanım Museum
The Azaryan Mansion houses the collection of Turkish and Islamic arts, which has a special focus on the Ottoman period. Also on display are European, Far Eastern, and Near Eastern artifacts produced for the Ottomans.
Iznik Tiles and Porcelain
Iznik tiles and porcelain were known for their brilliant colors, elaborate designs, and fine quality. They were produced in the town of Iznik (formerly Nicaea) and dominated Ottoman decorating from the late 15th through late 17th centuries. The designs were influenced by Chinese, Seljuk, and Timurid porcelains.
Kütahta Tiles and Ceramics
Between the 15th and 17th centuries, Kütahya ceramics were similar to those made in Iznik. After the decline of Iznik porcelains, however, the focus shifted to Kütahya, which developed its own unique style of decoration. Kütahya ceramics are made of white paste with a transparent glaze and typically outlined in black. They included tiles made for mosques, tombs, and churches as well as everyday household objects such as bowls, plates, coffee cups, flasks, rose water sprinklers, and more. The quality declined in the early 19th century but production revived later in the century. The tradition of ceramic production continues in the city today.
Çanakkale Ceramics
Ceramics with unique forms and designs were produced in Çanakkale from the 18th century until the first quarter of the 20th century. They were very different than those produced in Iznik and Kütahya, and potters only made household items. You’ll notice darker colors and elaborate motifs, and later examples were shaped like animals, humans, or ships.
Chinese Porcelain
Chinese porcelain was a prized luxury good in the Ottoman Empire, especially from the 15th through 17th centuries. It was a symbol of wealth and prestige, and played an important role in shaping the traditions of the Ottoman court.
European and Turkish Porcelain
Chinese porcelain was first seen in Europe in the 13th century, but it wasn’t until 1710, when potters in Meissen, Germany, managed to replicated its quality. European then porcelain gradually overtook Chinese porcelain in popularity in the Ottoman Empire, with pieces produced to appeal to Ottoman tastes. When demand for imported porcelain soared in the 19th century, a local porcelain factory was established in Beykoz in 1845. Another was founded by Sultan Abdülhamid II at Yıldız Palace in 1892, primarily to meet the needs of the palace and to produce gifts worthy of visiting diplomats and foreign leaders.
Ottoman Gold and Silver
Ottoman gold and silver goods were the result of the conquest of the Balkans, which contained rich deposits of both minerals. This increased the number of jewelers and goldsmiths employed at Topkapi Palace and the number of precious objects as well. Many of these objects were melted down for coinage during times of financial crisis in the 16th and 17th centuries, making them rare today. Late 18th century works were influenced by European styles, while in the late 19th century floral patterns and scenic views became popular.
Ottoman Tombak and Brassware
Copper and brass were widely used during the Ottoman period in everyday life, religious buildings, the military, and in architecture. Tombak, which is the term for the gold plating on copper objects, became popular in the 18th century when economic decline led to a shortage of gold and silver. Decorations on brassware were heavily influenced by the West during the 19th century.
Islamic Art
The Sadberk Hanım Museum contains a small collection of impressive Islamic art. This includes early Persian and Arab art from the 7th through 10th centuries, Seljuk art from the 11th and 12th centuries, Mamluk art from 1250 to 1517, Timurid art from 1370 to 1507, and Safavid Persian art from 1501 to 1753. Each civilization left their mark on Anatolia.
Ottoman Textiles and Fashion
The culture of Ottoman dress originated in Central Asia. Men and women both used basic garments consisting of an undershirt (gömlek), robe (entari) and pantaloons (salvar), and details remained the same until the late 19th century when garments were fit to the individual’s body shape.
The collection of Ottoman textiles at the Sadberk Hanım Museum ranges from the 18th to the 20th century. Most examples are women’s garments from different regions. They feature vibrant colors and patterns as well as rich fabrics and embroidery. Other accessories and textiles are on display as well.
Wedding Gowns
Wedding gowns were very important in the Ottoman Empire. Ottoman weddings lasted a week and the bride needed multiple outfits to greet guests. They were made of high-quality fabrics and richly embroidered. European-style dresses became popular in the late 19th and early 20th centuries, with long trains appearing in the 1870s.
Wedding gowns were typically multicolored until the late 19th century. Sultan Abdülhamid II’s daughter Naime Sultan (1876-c. 1945) started the trend of white dresses at her wedding in 1898. That fashion continues today in modern-day Turkey.
Embroideries for Circumcisions
Circumcisions are an important custom for Muslims, with boys usually circumcised between the ages of 5 and 11. During the Ottoman period, the procedure would take place at home and various ceremonies would take place in the week leading up to it. The boy would first visit friends and family and kiss the hands of elders. In Istanbul, since the Ottoman period, it has also been customary to visit the tomb of Abu Ayyub al-Ansari (Eyüp Sultan) to pray for salvation. Boys might also dress in a costume and be paraded around their neighborhood on a pony, accompanied by musicians. The day before the circumcision, boys would visit the hamam to wash.
On the day of the procedure, the family would set up a bed in the main room of the house or in the garden, weather permitting. It would be decorated according to local traditions, typically with embroideries borrowed from neighbors. Silk figures of a mouse and turtle were mounted to the bed, the former symbolizing agility and the latter symbolizing longevity. Magicians, acrobats, and puppet shows would entertain at the feast, and guests would shower the boy with gifts such as toys, watches, gold, or money.
Ottoman Hamam Accessories
To the Ottomans, the hamam was more than just a place of cleanliness and health. It was a social gathering. Women would visit on special occasions such as the bride’s bath the day before her wedding or a woman’s first bath after giving birth. They would use embroidered towels, wraps made of silk, and wooden clogs.
The clogs would be worn mainly to protect from wet or hot floors, but also to make the woman appear taller. They were also worn in the garden to keep shoes from getting muddy and were essential accessories for people of all social statuses. Clogs were carved from a single piece of wood. Those used for special occasions were often richly decorated with silver, mother-of-pearl, and ivory.
Other Ottoman Works of Art
In addition to porcelain, textiles, silver, and brass, other items on display in the Turkish and Islamic Arts section at the Sadberk Hanım Museum are woodworks and calligraphy.
