text: The scholarship surrounding Mosul Metalwork has been ongoing for a very long time, since it became the first Islamic objects dart studied in Europe, due to its early arrival on the continent. The diverse opinions on what constitutes as Mosul Metalwork arise due to the styles dispersion across lands and through the component of signatures which identify creators as "al Mawsili", meaning "of Mosul". Within the section of metalwork with signatures, twenty-seven out of the thirty-five state themselves as "al- Mawsili". Out of those, eight state their provenance through the name of the people for which they were created along with statements declaring their engendering within Mosul. Some notable scholars that have helped shape the basis of this study include: Joseph Toussaint Reinaud, Henri Lavoix, Gaston Migeon, Max Van Berchem, Mehmed Aga-Oglu, David Storm Rice. 
  In the early years of Mosul Metalwork, around 1828, Joseph Toussaint Reinaud, published a collection that included the first item to clearly state its creation in Mosul, the Blacas ewer, an artifact consistently scrutinized by scholars when exploring Mosul style. Then in the 1860s the credibility of Mosul was being questioned by scholars, it was during that century that Henry Lavoix declared that Damascus, Aleppo, Mosul, and Egypt all created inlaid metalwork, but specifically singled out Mosul as a source for a unique style unseen throughout the medium. 
  A critical point in the scholarship came in the beginning of the 20th, through Gaston Migeon, whose claims over the precedency of Mosul caused objection and an urgency for reliability. Migeon also wrote the first comprehensive article introducing the inlaid Islamic metalwork. In the following years, the fluctuation of precedence of Mosul and the lack of it continued, leading up to David Storm Rice, who released the first series of articles exploring the complexities of multiple objects, a process similar to that of Max Van Brehmen and Mehmed Aga-Oglu, two scholars that impacted the relevance and viability of Mosul Metalwork, some of which included the Blacas Ewer, Louvre basin and the Munich Tray. 
  Present day, Mosul Metalwork is still elusive, and lacks a sustaining amount of scholarship, but scholars continue to construct a field that utilizes substantiated evidence through designs, inscription, and other items engendered specifically in Mosul around the 13th century. An example of this is represented in an article written by Ruba Kana' An who utilizes its iconography and description to construct the argument stating the Freer Ewer as one of many metalworks constructed in Mosul.