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Lot Essay
These flasks, so richly ornamented from, literally, top to bottom, are magnificent examples of the exuberance of both Baroque craftsmanship and design. And this dazzling workmanship and the animated elements such as the figural finials and lion masks raise them above the level of utilitarian decorative art to a sculptural level -- equal to many of the best examples of sculpture in the celebrated Smith Collection in Washington.
The form of the 'pilgrim flask' has its roots in the leather water flask carried by the pilgrim or traveller of the Middle Ages. T. Schroder in The Gilbert Collection of Silver and Gold (Los Angeles, 1988, p. 455), traces the development of the form to French silver examples of the late 16th century; although described as 'flagons' they have the same pear-shaped form, elongated neck and oval section of later examples. A rare French Renaissance example, with dragon-shaped chain attachments, engraved with the arms of King Henri III, is preserved in the chapel of the Order of the Saint-Esprit, Paris (Carl Hernmarck, The Art of European Silversmith, 1430-1830, London, II, p. 97, pl. 292). Popular until the end of the 16th century, a revival of their manufacture took place in second half of the 17th century. Contemporary prints, such as Martin Engelbrecht's representation of the great silver buffet in the Rittersaal of the Berlin Schloss, circa 1708, indicate that they were arranged on side buffets during formal banquets. When placed in wine cisterns, they also served to decant wine.
The Smith flasks are very closely related to a pair in the collection of Yves Saint Laurent and Pierre Bergé, sold Christie's, Paris, 23-25 February, 2009, lot 502.
The form of the 'pilgrim flask' has its roots in the leather water flask carried by the pilgrim or traveller of the Middle Ages. T. Schroder in The Gilbert Collection of Silver and Gold (Los Angeles, 1988, p. 455), traces the development of the form to French silver examples of the late 16th century; although described as 'flagons' they have the same pear-shaped form, elongated neck and oval section of later examples. A rare French Renaissance example, with dragon-shaped chain attachments, engraved with the arms of King Henri III, is preserved in the chapel of the Order of the Saint-Esprit, Paris (Carl Hernmarck, The Art of European Silversmith, 1430-1830, London, II, p. 97, pl. 292). Popular until the end of the 16th century, a revival of their manufacture took place in second half of the 17th century. Contemporary prints, such as Martin Engelbrecht's representation of the great silver buffet in the Rittersaal of the Berlin Schloss, circa 1708, indicate that they were arranged on side buffets during formal banquets. When placed in wine cisterns, they also served to decant wine.
The Smith flasks are very closely related to a pair in the collection of Yves Saint Laurent and Pierre Bergé, sold Christie's, Paris, 23-25 February, 2009, lot 502.