Exotic mounted pieces, such as hard stone, rock crystal, or mother-of-pearl, were greatly prized in late medieval and Renaissance times and were within the grasp of only the very wealthy. With their implication of status, sophistication, and taste, such jewel-like objects were given a prominent place in aristocratic 'cabinets of curiosities'. Since few genuine examples survived, however, a thriving market developed for made-up and 'improved' mounted hard stones.
This exotic and sumptuously decorated cup was bought at a time when the Museum was actively seeking out German silver. When it was acquired, it was considered a splendid example of late Gothic metalwork and was embraced as one of the stellar pieces in the collection. It has consistently been published in the standard accounts of Gothic goldsmiths' work, and has only recently been reconsidered in relation to comparable objects in European collections. On the basis of certain construction features--such as the jointed stem, separate handle, and round foot disguised with a lobed mount--along with the object's total lack of wear and the absence of information about its early provenance, the cup has been reclassified as an example of 19th century, rather than Gothic, goldsmiths' work.
Physical description
Elegantly shaped cup of softly coloured agate with intricate silver-gilt mounts around the base, neck and mouth, and to form the handle.
Place of Origin
Germany (possibly, made)
Date
19th century (made)
Artist/maker
Unknown (production)
Materials and Techniques
Shaped and polished agate, with silver-gilt mounts
Dimensions
Height: 15.5 cm, Width: 15.5 cm, Depth: 14.3 cm
Object history note
This exotic and sumptuously decorated cup was bought at a time when the Museum was actively seeking out German silver. When it was acquired, it was considered a splendid example of Late Gothic metalwork and was embraced as one of the stellar pieces in the collection. Exotic mounted pieces, such as hard stone, rock crystal, or mother-of-pearl, were greatly prized in late medieval and Renaissance times and were within the grasp of only the very wealthy. With their implications of status, sophistication, and taste, such jewel-like objects were given a prominent place in aristocratic "cabinets of curiosities." These very qualities also made such pieces highly attractive to eighteenth- and nineteenth-century collectors. Since few genuine examples had survived, however, a thriving market developed for made-up and "improved" mounted hard stones. This cup, consistently published in the standard accounts of Gothic goldsmiths' work, has only recently been reconsidered in relation to comparable objects in European collections. On the basis of certain construction features-such as the jointed stem, separate handle, and round foot disguised with a lobed mount-along with the object's total lack of wear and the absence of information about its early provenance, the cup has been reclassified as an example of nineteenth-century rather than Gothic goldsmiths' work.
Descriptive line
Cup, German (?), 19th century, in the style of ca. 1475, agate with silver-gilt mounts.
Bibliographic References (Citation, Note/Abstract, NAL no)
Baker, Malcolm and Richardson, Brenda, eds. A Grand Design : The Art of the Victoria and Albert Museum. London: V&A Publications, 1997. 431 p., ill. ISBN 1851773088.
Another supposedly Gothic metalwork object acquired in the same era as cat. 67.1 has had a rather different later history. This exotic and sumptuously decorated cup was bought on the recommendation of J. C. Robinson in 1854 for the then considerable sum of £80, at a time when the Museum was actively seeking out German silver. When it was acquired, it was considered a splendid example of Late Gothic metalwork and was embraced as one of the stellar pieces in the collection. Exotic mounted pieces, such as hard stone, rock crystal, or mother-of-pearl, were greatly prized in late medieval and Renaissance times and were within the grasp of only the very wealthy. With their implications of status, sophistication, and taste, such jewel-like objects were given a prominent place in aristocratic "cabinets of curiosities."
These very qualities also made such pieces highly attractive to eighteenth- and nineteenth-century collectors. Since few genuine examples had survived, however, a thriving market developed for made-up and "improved" mounted hard stones. This cup, consistently published in the standard accounts of Gothic goldsmiths' work, has only recently been reconsidered in relation to comparable objects in European collections. On the basis of certain construction features-such as the jointed stem, separate handle, and round foot disguised with a lobed mount-along with the object's total lack of wear and the absence of information about its early provenance, the cup has been reclassified as an example of nineteenth-century rather than Gothic goldsmiths' work.
Lit. Somers Cocks, 1980, p. 18, pl. 21; Fritz, 1982, no. 639; Tait, 1991, p. 172, fig. 188
PIPPA SHIRLEY
Exhibition History
A Grand Design - The Art of the Victoria and Albert Museum (Victoria and Albert Museum 12/10/1999-16/01/2000)
Labels and date
GOBLET
Agate mounted in silver-gilt
German; about 1500
STANDING CUP
Agate mounted in silver gilt
South German (perhaps Freiburg im Breisgau and Nuremberg); about 1490-1500
This exotic piece would probably have been made for presentation. It is one of a small number of surviving late Gothic drinking vessels made of semi-precious stone, perhaps from Freiburg im Breisgau, where such stones were carved. The contorted foliage of the mounts conceals tiny cast figures of dogs and hunting stags. These might have been made in Nuremberg, an important centre for goldsmiths. The cup would originally have had a cover, equally lavish in decoration.
Materials
Silver; Gold; Agate
Techniques
Gilding; Shaping; Metalworking
Categories
Containers
Collection code
MET
