Lot Essay
An aquamanile is a particular type of ewer in the form of an animal or human figure which was used to pour water over the hands, usually into an accompanying bowl. Islamic examples seem to pre-date those found in Europe; there is a bronze aquamanile in the form of an eagle in the Hermitage Museum, St. Petersburg , which is signed by ‘Master Suleiman’ and dated 796/797AD (inv. no. IR-1567; illustrated in Hildesheim, op. cit., p. 30). The artistic influence of Islamic metalworkers became widespread in Europe through trade and diplomatic links. Objects such as the Pisa Griffin – an Islamic bronze of the 11th century that was placed atop Pisa cathedral - resulted in the transfer of many Islamic artistic ideals to western Europe (Lions, Dragons and other Beasts, op. cit., p. 11). Aquamaniles were widely produced – especially in northern Europe – from the 12th to the 15th centuries.
The most common form of aquamanile is a standing lion, but examples depicting horses and human heads, among other forms, also exist. The present example is from a rare group of aquamaniles traditionally called dragons or griffins which clearly illustrate the Islamic origin of these vessels. In their seminal work on the subject, Falke and Meyer catalogued nine dragon aquamaniles, the most spectacular examples of which are in Vienna and London (Kunsthistorisches Museum and Victoria and Albert Museum; see Falke and Meyer, op. cit., nos. 229 and 230a). Both of these are extensively gilded and inlaid with silver and niello. They have traditionally been dated to the 12th century with the Vienna example more recently attributed by Ursula Mende to the workshop of the goldsmith Roger von Helmarshausen and dated to circa 1120 (loc. cit.). Of the other seven examples, two were unlocated at the time of Falke and Meyer’s publication (nos. 274 and 275; the former is now in a private collection) and the others were all in public collections.
No two aquamaniles from this group are identical, but the similarities of form and decoration are such that it would appear that they have all come from one workshop or closely related workshops. The present example would appear to be from the same hand as a fragmentary example which was formerly in the Bayerisches Nationalmuseum and is now in the Württembergisches Landesmuseum, Stuttgart (illustrated in Falke and Meyer, no. 267, fig. 231, before restoration). The two share an almost identical overall form and numerous decorative details. Like the present aquamanile, the Stuttgart example has a cylindrical tail which serves as the spout into which water was poured. Both have foliate tendrils that rise up from this tail and arch back to join the reverse of the dragon’s head, as well as splitting and curling elegantly to join two sides of the body. The stylised wings each have a circular section which is engraved with a diaper pattern motif that is almost identical, The front of each beast has a line of raised feathers running down the front and each has distinctive, folded back ‘ears’ that are also embellished with feather-like decoration. A second aquamanile in Nuremberg (Falke and Meyer, no. 276) also shares the same form and many of the decorative details but is less spontaneous in its execution. Both these examples were catalogued by Falke and Meyer as ‘Lower Saxony’ and dated to the 13th century. However, the current dating of the Vienna and London aquamaniles to the early 12th century suggests that the dating of the Stuttgart and Nuremberg examples should be moved forward to the second half of the 12th century, with a similar dating for the present lot as well.
The workmanship evident on the present lot is a virtuoso display of casting, finishing and engraving, and in its original form it would have been a goldsmith-like luxury object. With silver eyes and a gilded surface – there are extensive traces of gilding over the entire surface of the bronze – it would have impressed those who saw it with the wealth and sophistication of its owner.
The most common form of aquamanile is a standing lion, but examples depicting horses and human heads, among other forms, also exist. The present example is from a rare group of aquamaniles traditionally called dragons or griffins which clearly illustrate the Islamic origin of these vessels. In their seminal work on the subject, Falke and Meyer catalogued nine dragon aquamaniles, the most spectacular examples of which are in Vienna and London (Kunsthistorisches Museum and Victoria and Albert Museum; see Falke and Meyer, op. cit., nos. 229 and 230a). Both of these are extensively gilded and inlaid with silver and niello. They have traditionally been dated to the 12th century with the Vienna example more recently attributed by Ursula Mende to the workshop of the goldsmith Roger von Helmarshausen and dated to circa 1120 (loc. cit.). Of the other seven examples, two were unlocated at the time of Falke and Meyer’s publication (nos. 274 and 275; the former is now in a private collection) and the others were all in public collections.
No two aquamaniles from this group are identical, but the similarities of form and decoration are such that it would appear that they have all come from one workshop or closely related workshops. The present example would appear to be from the same hand as a fragmentary example which was formerly in the Bayerisches Nationalmuseum and is now in the Württembergisches Landesmuseum, Stuttgart (illustrated in Falke and Meyer, no. 267, fig. 231, before restoration). The two share an almost identical overall form and numerous decorative details. Like the present aquamanile, the Stuttgart example has a cylindrical tail which serves as the spout into which water was poured. Both have foliate tendrils that rise up from this tail and arch back to join the reverse of the dragon’s head, as well as splitting and curling elegantly to join two sides of the body. The stylised wings each have a circular section which is engraved with a diaper pattern motif that is almost identical, The front of each beast has a line of raised feathers running down the front and each has distinctive, folded back ‘ears’ that are also embellished with feather-like decoration. A second aquamanile in Nuremberg (Falke and Meyer, no. 276) also shares the same form and many of the decorative details but is less spontaneous in its execution. Both these examples were catalogued by Falke and Meyer as ‘Lower Saxony’ and dated to the 13th century. However, the current dating of the Vienna and London aquamaniles to the early 12th century suggests that the dating of the Stuttgart and Nuremberg examples should be moved forward to the second half of the 12th century, with a similar dating for the present lot as well.
The workmanship evident on the present lot is a virtuoso display of casting, finishing and engraving, and in its original form it would have been a goldsmith-like luxury object. With silver eyes and a gilded surface – there are extensive traces of gilding over the entire surface of the bronze – it would have impressed those who saw it with the wealth and sophistication of its owner.