- 155
A rare Kashan Lustre Bowl in the "Monumental Style", Persia, Late 12th/Early 13th century
Estimate
15,000 - 25,000 GBP
Log in to view results
bidding is closed
Description
- Fritware
fritware body of deep conical form on a short foot, decorated with a central seated figure in reserve against a lustre ground over an opaque white glaze, the finely silhouetted figure holding a cup and wearing a dotted gown, the exterior with a Persian inscription, the foot with old collection label and stamped numbers III, 3, 651.
Provenance
ex-Croisier Collection, Switzerland
Exhibited
Islam et Art Figuratif, Musée d’Art et d’Histoire, Geneva, 1984.
Treasures of Islam, Musée d'Art et d'Histoire, Geneva, 1985.
Céramiques du Monde Musulman, Institut du Monde Arabe, Paris, 1999.
Perpetual Glory. Medieval Islamic Ceramics From the Harvey B. Plotnick Collection, The Art Institute of Chicago, 2007.
Treasures of Islam, Musée d'Art et d'Histoire, Geneva, 1985.
Céramiques du Monde Musulman, Institut du Monde Arabe, Paris, 1999.
Perpetual Glory. Medieval Islamic Ceramics From the Harvey B. Plotnick Collection, The Art Institute of Chicago, 2007.
Literature
Islam et Art Figuratif, Geneva, 1984, p.21, no.26.
Treasures of Islam, Geneva, 1985, pp.225-226, no.224.
Céramiques du Monde Musulman, Paris, 1999, p.117.
O. Pancaroglu, Perpetual Glory. Medieval Islamic Ceramics from The Harvey B. Plotnick Collection, Chicago, 2007, p.127, no.81.
Treasures of Islam, Geneva, 1985, pp.225-226, no.224.
Céramiques du Monde Musulman, Paris, 1999, p.117.
O. Pancaroglu, Perpetual Glory. Medieval Islamic Ceramics from The Harvey B. Plotnick Collection, Chicago, 2007, p.127, no.81.
Condition
In general good condition, oncre broken and restored with associated overpainting, lustre bright, 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."
"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."
Catalogue Note
inscriptions
Around the outer wall, (repainted in parts)
‘izz iqbal mehtari o sorur
az …. [khodavand-e in] mabada dur
mabad har kas
‘Glory and Prosperity and Superiority and Joy
May they not be far from the owner of this [bowl]
May no one be ….’
This type of decoration, in which the large, principal figure in the centre of the bowl makes up the core design, set in reserve against a lustre ground, is known as the monumental style. It represents one of the three classifications for Persian lustreware of the pre-Mongol period and derives from earlier Fatimid lustre painting techniques in Egypt (Watson 2004, p.347). The main figure on this bowl, who sits cross-legged and hold a cup in his right hand, follows an iconographic repertoire already present on lustreware from Abbasid Iraq and Fatimid Egypt which feeds into Seljuq Iran. It is in the figure's face that an aesthetic transformation is visible, with the introduction of a rounded face, almond-shaped eyes, and delicate eyebrows, nose and mouth. Such a development can be attributed to the migration of Turkic tribes from Central Asia into Iran and further West. Furthermore, the distinctive cintamani pattern on the figure's clothing is a motif that was originally introduced by these Turkic populations (Pancaroglu 2007, p.127).
Around the outer wall, (repainted in parts)
‘izz iqbal mehtari o sorur
az …. [khodavand-e in] mabada dur
mabad har kas
‘Glory and Prosperity and Superiority and Joy
May they not be far from the owner of this [bowl]
May no one be ….’
This type of decoration, in which the large, principal figure in the centre of the bowl makes up the core design, set in reserve against a lustre ground, is known as the monumental style. It represents one of the three classifications for Persian lustreware of the pre-Mongol period and derives from earlier Fatimid lustre painting techniques in Egypt (Watson 2004, p.347). The main figure on this bowl, who sits cross-legged and hold a cup in his right hand, follows an iconographic repertoire already present on lustreware from Abbasid Iraq and Fatimid Egypt which feeds into Seljuq Iran. It is in the figure's face that an aesthetic transformation is visible, with the introduction of a rounded face, almond-shaped eyes, and delicate eyebrows, nose and mouth. Such a development can be attributed to the migration of Turkic tribes from Central Asia into Iran and further West. Furthermore, the distinctive cintamani pattern on the figure's clothing is a motif that was originally introduced by these Turkic populations (Pancaroglu 2007, p.127).