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Lot 12
An exceptional façon de Venise gilded, enamelled and engraved vase and cover, Court Glasshouse, Innsbruck, circa 1570-91The shouldered ovoid bowl applied with three gilt raspberry prunts, decorated with two central bands of gilt and low-fired enamel foliate scrollwork panels alternating with similar panels in diamond-point, all between formal engraved borders, the rim with a formal foliate border above a gilt and enamel spiral band, set on a collar above a small cushion and a globular knop, the hollow stem moulded with two lion masks flanking scroll motifs all between gadrooned borders, the folded conical foot engraved with a band of false gadroons, the double-domed cover with a knopped finial, applied with three prunts and similarly decorated, 31.5cm high (2)Footnotes:ProvenanceRev. William Fraine Fortescue Collection, Chesterton, Oxfordshire, sold circa 1889Lady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerAn old paper label attached to the foot of this vase records its provenance thus: 'Bought in Chesterton at sale of Rev- Fortescue late incumbent of that Parish'. William Fraine Fortescue (1810-1889) was the second son of William Fortescue of Writtle Lodge, Essex. He was a fellow of New College, Oxford, from 1828-50 and became vicar of Chesterton in 1849.In 1570 Archduke Ferdinand II of Tyrol founded a glasshouse in the garden of his home at Schloss Ambras, Innsbruck, having become increasingly dissatisfied with the glass made in Hall and a continued reliance on Venice for luxury tableware for use at his new residence. Through negotiations with the Venetian authorities, he secured the temporary loan of craftsmen from Murano and obtained permission to use various raw materials and tools brought from Venice. Although never commercially viable, a number of Venetian master glassblowers were recorded at Innsbruck including Pietro d'Orso (1571), Salvatore Savonetti (1573-75 and 1578) and his father Bastian (1578) and Andrea Tudin (1575 and 1583), all of whom returned to Murano once they had honoured their contracts. The Archduke also employed around 50 painters each with different artistic talents, who were most likely German. The cold-painted decoration on these wares was usually executed in red, green and gold, reflecting Germanic taste.The long accepted attribution to the Court Glasshouse at Innsbruck for this unusual group of glass, with its distinctive grey tint and its cold-painted and diamond-point engraved decoration, has been debated and a tentative attribution to Venice suggested by some scholars, see Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), p.242. The Archduke continued to purchase Venetian pieces after the opening of his own Glasshouse, see Erwin Baumgartner, Verre de Venise et façon de Venise (1995), p.99. This included '10 vergoldete Deckelpokale' in 1575 which may correspond to covered vases of this type, see Erich Egg, Die Glashütten zu Hall und Innsbruck (1962), p.45. Although probably made as reliquaries, still-life paintings from the early 17th century show vessels of similar shape without decoration containing wine.For comparable examples with lion mask stems in the Kunsthistorisches Museum, Vienna, see Egg (1962), nos.27, 34 and 35. Another in blue glass from the Ernesto Wolf Collection, now in the Landesmuseum Württemberg, is illustrated by Brigitte Klesse and Hans Mayr, European Glass from 1500-1800 (1987), no.35. Other comparable examples without lion mask stems are illustrated by Egg (1962), nos.30-33, by Rainer Ruckert, Die Glassammlung des Bayersischen Nationalmuseums München, vol.I (1982), no.147, by Rudolf von Strasser and Walter Spiegl, Dekoriertes Glas (1989), p.163, no.6, and by Olga Drahotova, Europäisches Glas (1982), p.37, no.12. See also the example from the Mühleib Collection sold by Bonhams on 2 May 2013, lot 6 and that in the Museo del Vetro di Murano (accession no. Cl.VI n.01124) illustrated by Attilia Dorigato, Il Museo vetrario di Murano (1986), pl.21. An example without decoration from Aynhoe park was sold by Sotheby's on 14 July 1975, lot 322. Further similarly decorated examples with lion mask stems but of cylindrical form are illustrated by Egg (1962), nos.36 and 41 and another from the Mühleib Collection was sold by Bonhams on 2 May 2013, lot 5.For further information on this lot please visit Bonhams.com
Lot 6
A rare Venetian or façon de Venise 'ice glass' pail or situla (secchiello), late 16th centuryOf waisted circular form applied with four gilt lion-mask prunts between two gilded horizontal raised bands, a third band forming the footrim around a kick-in base, the quatrefoil gilt and folded rim forming two pouring lips and applied with two looped lugs supporting an overhead ropetwist loop handle, 23.6cm wide including handle terminalsFootnotes:ProvenanceLady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerThe form of these vessels may derive from Roman examples or from similar vessels produced in metal since the 15th century, although their purpose is debated. It is likely that many were used in religious contexts, as some late 15th and 16th century documents mention glass situlas together with aspersoriums, or specify their use as containers for holy water. However, a secular use on the table as finger bowls or coolers has been suggested. Three ice glass buckets were bought in 1572 and sent to the Duke of Mantua, Guglielmo Gonzaga, perhaps for use as such, see Rosa Barovier Mentasti and Cristina Tonini, Tools to Study Glass, in Study Days on Venetian Glass (2014), pp.21-3 for a detailed discussion.Three similar 'ice glass' situlas with applied footrings are in the Museo del Vetro di Murano in Venice (accession nos. Cl.VI n.01167, Cl.VI n.01254 and Cl.VI n.01256). See also the example illustrated by Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), pp.525-6, no.678. Another is in the Musei Civici di Arte e Storia, Brescia (accession no. VT 66). An example without a footring is in the J. Paul Getty Museum (accession no. 84.DK.657), illustrated and discussed by Catherine Hess and Timothy Husband, European Glass in the J. Paul Getty Museum, pp.110-2, no.28, who state that footless examples like the present lot are uncharacteristic of situlas attributed to Venice, and that the grey tint of the metal may be more characteristic of Northern European manufacture.For further information on this lot please visit Bonhams.com
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