Pilgrim Flask, with the arms of Herwarth impaling Schellenberg
- Attributed to
- Guido di Merlino, Italian, active 1523–1564
- Date
- 1540–50
- Material
- Tin-glazed earthenware and pewter
- made in
- Urbino, Marche region, Italy, Europe
- Classification
- Ceramics, containers
- Collection
- Decorative Arts and Design
- Current Location
- On View, Gallery 124
- Dimensions
- including stopper/lid: 13 3/8 x 8 3/4 x 4 1/2 in. (34 x 22.2 x 11.4 cm)
maximum lid dimensions: 2 7/16 x 2 in. (6.2 x 5.1 cm) - Credit Line
- Museum Purchase
- Rights
- Public Domain
- Object Number
- 52:1927
NOTES
The pear-shaped forms of tin-glazed earthenware known as pilgrim bottles derived from earlier types of containers made from dried gourds used to store water. The ceramic versions were often decorated with narratives. Here, the ancient hero Marcus Curtius prepares to leap into the chasm at the center of the Roman Forum. An oracle had proclaimed that the hole would close only when the empire’s most precious possession was cast in. Reasoning that Rome had no more valuable gift than its brave young men, Marcus jumped into the chasm, which promptly closed.
Provenance
c.1540 -
Johannes Hörwarth (d.1528) and Helen Schellenberg, Augsburg, Germany [1]
by 1898 -
Private Collection, Berlin, Germany [2]
Prince Johannes II of Liechtenstein (1840-1929), Vienna, Austria [3]
- 1927
Arnold Seligmann, Rey & Co., New York, NY, USA
1927 -
Saint Louis Art Museum, purchased from Arnold Seligmann, Rey & Co. [4]
Notes:
[1] The flask bears the arms of both the Hörwarth and Schellenberg familes. Johannes and Helen were married in 1528 and the flask is probably part of a larger service commissioned for the event [Rackham, Bernard. "Victoria and Albert Museum. Catalogue of Italian Maiolica." Vo1s. I-II. London, 1940; London, 1977, cat. nos. 921, 923, p. 308, plates 148-149; Lessmann, Johanna. "Herzog Anton Ulrich-Museum Braunschweig. Italienische Majolika, Katalog der Sammlung. Braunschweig, 1979, cat. nos. 154-156, pp. 178-180].
[2] According to an 1899 publication of an exhibition held in Berlin from May 20-July 3, 1898, the object belonged to the collection of "Sr. Gen. des Kaisers," presumably a reference to an unnamed general to Germany's last kaiser, Wilhelm II (ruled 1888-1918) ["Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz veranstaltet von Kunstgeschichtlichen Gesellschaft, 20. Mai bis 3 Juli 1898, Berlin." Berlin: G. Grote, 1899, pl. LIII (no. 1)].
[3] Invoice from Arnold Seligmann, Rey & Co. dated April 27, 1927, lists the Prince of Liechtenstein as a previous owner [SLAM document files]. Although a name was not given on the invoice, Johannes II was the Prince of Liechtenstein from 1858-1929 and he is presumed to be the person Seligmann refers to in the invoice. Johannes II was an avid collector and acquired numerous works of art for the family's collections throughout his reign ["Principality of Liechtenstein: A Documentary Account." Vaduz: Press and Information Office, 2003, pp. 13-14].
[4] See note [3]. Minutes of the Administrative Board of Control of the City Art Museum, April 22, 1927.
Johannes Hörwarth (d.1528) and Helen Schellenberg, Augsburg, Germany [1]
by 1898 -
Private Collection, Berlin, Germany [2]
Prince Johannes II of Liechtenstein (1840-1929), Vienna, Austria [3]
- 1927
Arnold Seligmann, Rey & Co., New York, NY, USA
1927 -
Saint Louis Art Museum, purchased from Arnold Seligmann, Rey & Co. [4]
Notes:
[1] The flask bears the arms of both the Hörwarth and Schellenberg familes. Johannes and Helen were married in 1528 and the flask is probably part of a larger service commissioned for the event [Rackham, Bernard. "Victoria and Albert Museum. Catalogue of Italian Maiolica." Vo1s. I-II. London, 1940; London, 1977, cat. nos. 921, 923, p. 308, plates 148-149; Lessmann, Johanna. "Herzog Anton Ulrich-Museum Braunschweig. Italienische Majolika, Katalog der Sammlung. Braunschweig, 1979, cat. nos. 154-156, pp. 178-180].
[2] According to an 1899 publication of an exhibition held in Berlin from May 20-July 3, 1898, the object belonged to the collection of "Sr. Gen. des Kaisers," presumably a reference to an unnamed general to Germany's last kaiser, Wilhelm II (ruled 1888-1918) ["Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz veranstaltet von Kunstgeschichtlichen Gesellschaft, 20. Mai bis 3 Juli 1898, Berlin." Berlin: G. Grote, 1899, pl. LIII (no. 1)].
[3] Invoice from Arnold Seligmann, Rey & Co. dated April 27, 1927, lists the Prince of Liechtenstein as a previous owner [SLAM document files]. Although a name was not given on the invoice, Johannes II was the Prince of Liechtenstein from 1858-1929 and he is presumed to be the person Seligmann refers to in the invoice. Johannes II was an avid collector and acquired numerous works of art for the family's collections throughout his reign ["Principality of Liechtenstein: A Documentary Account." Vaduz: Press and Information Office, 2003, pp. 13-14].
[4] See note [3]. Minutes of the Administrative Board of Control of the City Art Museum, April 22, 1927.
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