A KASHAN POTTERY JUG
A KASHAN POTTERY JUG
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PROPERTY FROM A PRIVATE AMERICAN COLLECTIONLots 27-43 come from a Private American collection. They were all excavated with legal licenses in Iran in the 1930s and 40s and were brought to America at a time when Europe was becoming more troubled, and America was considered the marketplace with the greatest potential. The supply of serious works of art, coupled with active promotion by scholars such as Arthur Upham Pope, meant that interest in collecting Persian art rapidly grew, with museums building up representative collections as well as private individuals forming collections of the highest quality.
A KASHAN POTTERY JUG

CENTRAL IRAN, 13TH CENTURY

Details
A KASHAN POTTERY JUG
CENTRAL IRAN, 13TH CENTURY
The rounded body decorated with a horizontal band of vegetal scrolls below a band on a cobalt-blue ground around the shoulder, the neck with further black vegetal decoration, with slightly flared mouth and a straight loop handle, intact
7 ½in. (19.1cm.) high
Provenance
American collection since 1971
Further details
Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. Bidders must familiarise themselves with any laws or shipping restrictions that apply to them before bidding on these lots. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, would enable a buyer to import this type of lot into the USA. If you intend to use Christie’s licence, please contact us for further information before you bid.

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Sara Plumbly Director, Head of Department

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Lot Essay


Like the previous lot, this ewer was decorated before being glazed and fired. The clear white colour of the frit body meant that the potter could leave a considerable amount of open space on the design, having faith that it would appear a clear unblemished white on the final product. The shape of this ewer was derived from metalwork, a surviving example of which can be seen in the Metropolitan Museum of Art in New York (acc.no. 63.158.3). There are even examples known where the potter has used a mould to create a ‘faceted’ effect to evoke the texture of hammered metal (Oliver Watson, Ceramics of Iran, London, 2020, p.199, cat.no. 101). An example of a jug with similar underglaze decoration is kept in the Asian Art Museum (acc.no. B62P223), while another was sold in these Rooms, 27 October 2022, lot 36.

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