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Lot Essay
Imberton, like Galle and Daum, copied the striking patterns of Islamic metalworks and glassworks adopted and interpreted by Philippe-Joseph Brocard.
Our vase replicates the near colourless glass with a light yellow straw hue of the 13th and 14th century Syria glassware noticeable in enamelled mosque lamps and flasks such as can be seen in the mosque lamp of Amir Qawsun now at the Metropolitan Museum, New York (17.190.991), the Lampe au nom du sultan Muhammad ibn Qala'un, (Louvre Paris, OA 7880/66), two beakers also at the Metropolitan Museum, New York (17.190.2039, 57.61.15), a pilgrim flask (British Museum 1869,0120.3) and the bouteille au blason at the Louvre, Paris (OA 3365).
As in the Louvre’s high-necked lamp and the lamp of Amir Qawsun, Imberton copies the recurring cup bearer blazon interspersed with the lotus flower, itself a foreign pattern, introduced from China in Mamluk art by the second third of the 14th century.
Our vase replicates the near colourless glass with a light yellow straw hue of the 13th and 14th century Syria glassware noticeable in enamelled mosque lamps and flasks such as can be seen in the mosque lamp of Amir Qawsun now at the Metropolitan Museum, New York (17.190.991), the Lampe au nom du sultan Muhammad ibn Qala'un, (Louvre Paris, OA 7880/66), two beakers also at the Metropolitan Museum, New York (17.190.2039, 57.61.15), a pilgrim flask (British Museum 1869,0120.3) and the bouteille au blason at the Louvre, Paris (OA 3365).
As in the Louvre’s high-necked lamp and the lamp of Amir Qawsun, Imberton copies the recurring cup bearer blazon interspersed with the lotus flower, itself a foreign pattern, introduced from China in Mamluk art by the second third of the 14th century.