A fine Abbasid Pottery Bowl with a Kufic Inscription, Iraq, 9th Century

the rounded earthenware body covered with an opaque white glaze, Arabic inscription painted inglaze in cobalt blue from centre right rim

Croisier Collection, Switzerland

Céramiques islamiques dans les collections genevoises, Musée d'art et d'histoire, Geneva, 1981, p.21, no.27.
Treasures of Islam, Musée d'art et d'histoire, Geneva, 1985, p.210, no.197.
Islamic Calligraphy, Musée d'art et d'histoire, Geneva, 1988, p.56-57, no.3.
Céramiques du monde musulman, Institut du monde arabe, Paris, 1999, p.86.
Iraq and China: Ceramics, Trade, and Innovation, Sackler Gallery, Washington, D.C., December 4, 2004 - July 17, 2005.
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, The Art Institute of Chicago, 2007, pp.40-41, no.1.

with breaks and repairs, 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
In Arabic, possibly reading as:
mimma 'umila 'amalahu
"One of what was made, it was made."

This bowl is an exceptional example of early Islamic tin-glazed pottery and epitomises the powerful abstraction of the early Abbasid style. While the shape imitates a Chinese prototype, the use of cobalt blue is a novel departure that was to have a profound and long-lasting influence on world ceramics. The application of cobalt directly into the raw glaze creates a soft impression, described by Arthur Lane as "like ink on snow" (Lane, A., Early Islamic Pottery, London, 1947, p.13).