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Lot Essay
These spectacular dragons have an art-historical heritage that stems from two of the most important centres in renaissance Europe – Venice and Florence. Venice, of course has an ancient tradition of glass-making, but in the 16th century Florence began to foster its own school dedicated to the art. After years of attempting to entice a Venetian familiar with the production of glass, Grand Duke Cosimo I succeeded in bringing Bortolo d’Alvise to Florence, where he is documented from 1569. He remained for 14 years and a fledgling school was begun. By 1618 it had grown and was under the direction of Niccolo Landi and was situated in the Boboli Gardens in close proximity to the Pitti Palace.
The glass ovoid bodies of the present dragons, with silver and gilt-bronze mounts, follow a Venetian tradition of mounted glass objects, especially vases. However, it is clear that there was also significant artistic input from other sources. The creativity of designers in the employ of the Medici in the early 17th century is testament to the ingenuity of Florentine artists and those who were brought to Florence to participate in the vibrant cultural milieu. The reputation of objects from the glassworks grew and, as with works in hardstone from the Opificio delle pietre dure and bronzes, became coveted diplomatic gifts from the Medicean court.
Numerous designs for such works of art are extant in Florentine archives such as the Gabinetto Disegni e Stampe. Fantastical objects by artists including the designer Jacopo Ligozzi (1547-1627) and the engraver and draughtsman Jacques Callot (1592-1635) – who worked for the Medici from at least 1612 until 1619 – clearly suggest a Florentine origin for the present dragons.
Another gilt-copper-mounted glass dragon which was owned by the renowned Parisian dealer Jacques Kugel in 1966, and which is now in a private collection was also described as being from the Medici glass manufactory and dated to circa 1620. The close similarity of the head and the overall composition between that object and the lot offered here leave no doubt that they are from the same workshop, and perhaps the same hand.
It has been suggested that the present dragons may have been commissioned by – or as a gift for – the powerful Borghese family, whose coat of arms include a dragon on a blue ground.
The glass ovoid bodies of the present dragons, with silver and gilt-bronze mounts, follow a Venetian tradition of mounted glass objects, especially vases. However, it is clear that there was also significant artistic input from other sources. The creativity of designers in the employ of the Medici in the early 17th century is testament to the ingenuity of Florentine artists and those who were brought to Florence to participate in the vibrant cultural milieu. The reputation of objects from the glassworks grew and, as with works in hardstone from the Opificio delle pietre dure and bronzes, became coveted diplomatic gifts from the Medicean court.
Numerous designs for such works of art are extant in Florentine archives such as the Gabinetto Disegni e Stampe. Fantastical objects by artists including the designer Jacopo Ligozzi (1547-1627) and the engraver and draughtsman Jacques Callot (1592-1635) – who worked for the Medici from at least 1612 until 1619 – clearly suggest a Florentine origin for the present dragons.
Another gilt-copper-mounted glass dragon which was owned by the renowned Parisian dealer Jacques Kugel in 1966, and which is now in a private collection was also described as being from the Medici glass manufactory and dated to circa 1620. The close similarity of the head and the overall composition between that object and the lot offered here leave no doubt that they are from the same workshop, and perhaps the same hand.
It has been suggested that the present dragons may have been commissioned by – or as a gift for – the powerful Borghese family, whose coat of arms include a dragon on a blue ground.