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Lot Essay
Bodendick, a silversmith from Limberg, Germany, worked in London between 1661 and 1688 in a distinctly German style (Charles Oman, Caroline Silver, London, 1970, pp. 34-35). His surviving marked tankards are characterised by auricular handles and sleeve construction, both features of the present example. A tankard bearing Bodendick's maker's mark also depicts an Ottoman battle scene and is of similar large size (formerly in the Meech Collection, sold at Sotheby's, New York, October 22, 1993, lot 37). It is now on loan to the Victoria and Albert Museum. The spectroanalysis of the alloy of the present example supports an English attribution, as the silver content ranges from 93 to 94.5 This standard conforms to the English sterling requirement, and is much higher than that of German examples, which tend to be closer to 75 silver in this period. The present tankard is engraved with an English scratchweight, which appears to be early 19th century in date.
Much of Bodendick's work was not hallmarked because of Goldsmiths' Hall's reluctance to admit foreign craftsmen. Bodendick was only able to work in London under the protection of Charles II, who officially petitioned the Hall on Bodendick's behalf in 1664. Despite this royal request, it was not until 1674 that he was finally allowed to register his mark. Another unmarked tankard attributed to Bodendick was sold at Christie's, November 9, 1994, lot 210.
Bodendick's work is particularly varied in style, and his marked tankards incorporate embossed scenes, such as the present example, cagework sleeves, and even a mounted wood example (now in the Museum of Fine Arts, Boston, illustrated in Ellenor Allcorn, English Silver in the Museum of Fine Arts, Boston, 1993, no. 56, pp. 132-134). Perhaps this variety can be explained by his employment of several foreign-trained journeymen (Oman, op. cit., p, 35).
Much of Bodendick's work was not hallmarked because of Goldsmiths' Hall's reluctance to admit foreign craftsmen. Bodendick was only able to work in London under the protection of Charles II, who officially petitioned the Hall on Bodendick's behalf in 1664. Despite this royal request, it was not until 1674 that he was finally allowed to register his mark. Another unmarked tankard attributed to Bodendick was sold at Christie's, November 9, 1994, lot 210.
Bodendick's work is particularly varied in style, and his marked tankards incorporate embossed scenes, such as the present example, cagework sleeves, and even a mounted wood example (now in the Museum of Fine Arts, Boston, illustrated in Ellenor Allcorn, English Silver in the Museum of Fine Arts, Boston, 1993, no. 56, pp. 132-134). Perhaps this variety can be explained by his employment of several foreign-trained journeymen (Oman, op. cit., p, 35).