A Kashan Monochrome Bowl with lobed exterior, Persia, late 12th/early 13th century

of deep rounded form with straight vertical sides and slightly everted lip, the exterior decorated with a pattern of carved petals, the transparent colourless glaze with a splash of turquoise-blue pigment to the interior

Croisier Collection, Switzerland

Céramiques islamiques dans les collections genevoises, Musée d'art et d'histoire, Geneva, 1981, p.39, no.61.
Islam et art figuratif, Musée d'art et d'histoire, Geneva, 1984, p.16, no.12.
Treasures of Islam, Musée d'art et d'histoire, Geneva, 1985, p.223, no.220.
Céramiques du monde musulman, Institut du monde arabe, Paris, 1999, p.113.
Perpetual Glory, Medieval Islamic Ceramics From The Harvey B. Plotnick Collection, The Art Institute of Chicago, 2007.

O. Pancaroglu, Perpetual Glory, Medieval Islamic Ceramics From The Harvey B. Plotnick Collection, Chicago, 2007, pp.90-91, no.48.

In overall fairly good condition, cracking with associated repair and loss to glaze, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Whilst the earliest phase of Islamic ceramic production was characterised to a greater extent by formal simplicity and restraint, by the twelfth century the potteries of central Iran were producing richly detailed and decorated designs culminating in the supremely painterly minai wares. This bowl, therefore, is a notable exception to the general trend towards greater ornateness and demonstrates in its refined elegance a clear awareness and responsiveness to Chinese monochrome stonewares, and in particular the popular yingbai export wares, fragments of which are recorded in many Persian and Near Eastern archaeological contexts of the period. One senses a reluctance, or frustration even, on the part of the decorator at leaving the design so plain; he cannot help adding a splash of turquoise to the interior, maybe as protection against the "evil eye".