moulded in relief with large thuluth inscription in cobalt blue between scrolling turquoise foliage under an opacified tin glaze and over-decorated in lustre, the ground with dense floral motifs

Ex-collection Erik Reiff (1923-2006).

Erik Reiff was a notable Danish potter, known for his sleek designs influenced by Oriental ceramics. Working for Bing & Grøndahl from 1949, he produced his work in his own studio between 1957 and 1984. A bowl by Erik Reiff is in the Victoria and Albert Museum, London, inv.no. CIRC.313-1963.

Holbæk Amts Venstreblad (today known as Nordvestnyt), Denmark, December 1963.

Fragmentary, although monumental, break to reverse visible, some associated restoration, including minor overpainting and infill in the form of reconstruction on the lower left hand corner, some light craquelure to glaze as consistent with age, 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."

inscriptions

wa al-din

These words most probably formed a section of a title such as: ghiyath al-dunya wa al-din Sultan...

The remaining letters on this tile are noteworthy as they measure fifty-seven centimeters, indicating that they would have formed part of the inscription along the exterior of a monumental building, most probably a palace or official site. The quality of the design of this tile is particularly fine and indicative of the new heights to which established ceramic techniques such as lustre were developed under Ilkhanid rule (1256–1353 AD). Despite the devastation wrought by the Mongol hordes in 1219 AD, the principles of Seljuk art were expanded and old techniques inspired a wave of experimentation and a fresh approach to the established decorative vocabulary.

It is difficult to locate the origin of this tile, although its inscription, with the notable hooked tops at the ends of each letter and their shapely appearance, is most comparable to a mihrab tile panel from the Imamzada 'Ali ibn Ja'far tomb complex in the city of Qum, now in the National Museum of Iran, Tehran, bearing the date 734 AH/1334 AD. However, the turquoise scrolling foliate design weaved around the letters is much more present on this example, almost competing with the letters themselves.

The honey-coloured ground of this tile is filled with delicate floral motifs reminiscent of a dish from Kashan, now in the David Collection, Copenhagen, dated 667 AH/1268 AD (inv. no. Isl 95). The distinctive palmette-like appearance of these flowers echoes far eastern models, testifying to the Mongol influence on local potters.