Tankard, silver-gilt, rock crystal and agate, Strasbourg, Diebolt Krug, 1575, (marked).

The barrel of the tapering cylindrical tankard is of rock crystal, cut with shallow fluting on the upper two thirds of the body. It is supported by three silver-gilt couchant-lion feet resting on strapwork cushions. The mount at the base consists of a broad band chased with a laurel wreath, wrigglework, and foliage within strapwork on matted ground, with a band of foliate tongues above. Three vertical straps run from above the feet to the lip mount, each with a grotesque mask at its base. A winged demifigure and a putto support a vase of fruit superimposed on the plinth of the Corinthian pilaster above. The lip mount is chased with a band of masks and strapwork and has a broad band of etched scrolling foliage and chased ogival arch forms above. The scroll handle is formed as a female demifigure issuing from foliage, with a female mask, wings, and fishtails at the lower junction and etched scrolls at the upper. The hinged and domed cover is formed from a single piece of silver-gilt-mounted rock crystal, fluted similarly to the body; the shaped border is chased with a band of cherubs, scrolls, and fruit with a wreath and foliate tongues above. The cover is surmounted by a double portrait cameo within a chased fame; applied in the centre of the inside cover are two coats of arms accole within a wreath of fruit and leaves. The thumbpiece is etched and chased with scrolls and fruit and has a small applied cameo of an infant. A small mirror is applied to the centre of the inside base, attached on the underside by a screw chased with a rose. A shaped, etched panel of silver is applied to the inside of the body at the lower junction of the handle.

The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London

Provenance: Purchased from J. Kugel, Paris, 1984.

Historical significance: This remarkable piece represents the zenith of German Rennaissance goldsmith's work and epitomises the mid sixteenth century 'Schatzkammer' object.

Collections of objets d'art in precious metals and other rare and beautiful materials had existed in aristocratic circles at least since the time of Jean, duc de Berry (1340 - 1416), but the practice became much more widespread in Germany during the sixteenth century.

This tankard was purchased by Sir Arthur Gilbert with some reluctance; Sir Arthur always strove to buy objects that were in 'good condition' and the extensive crack on the body of the tankard along with the one on the base made him shy away from this object. However, with encouragement from his curator, Gilbert realised that this tankard epitomised Renaissance Schatzkammer.

The Rosalinde and Arthur Gilbert Schatzkammer is one of the few collections of its kind formed in the late 20th century. The Schatzkammer, or treasury, was a new concept in the 16th century. It referred to a special chamber in which the most precious artefacts of a princely collection were housed. Gold and jewelled objects were mounted alongside exotic natural curiosities, including rock crystal, nautilus shells and ostrich eggs. Together they demonstrated not only the wonders of nature and the technical achievements of the artist, but also the intellect and culture of the patron.

Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.

LOAN:GILBERT.51-2008