{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O91876"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O91876/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AK3245/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AK3245/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006AK3245","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O91876/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O91876","accessionNumber":"150-1872","objectType":"Cup","titles":[],"summaryDescription":"This cup once belonged to the Nuremburg Goldsmiths Corporation. It has been attributed to the workshop of Wenzel Jamnitzer. Apprentice goldsmiths applying for master-goldsmith status usually had to make a trial piece of work, or 'masterpiece', that met an agreed standard of workmanship. From 1531 until 1572 Nuremberg apprentices were required to make a columbine cup (named after its resemblance to the columbine flower), a gold ring set with a precious stone and a steel seal die. In some guilds apprentices or journeymen were not allowed to marry until their masterpieces had been accepted. Otherwise, they were subject to fines. If a masterpiece was refused, applicants could continue as journeymen working for other goldsmiths. They could also try to persuade a master to submit their work under his hallmark, although this defied guild regulations.","physicalDescription":"The body in the form of 6 lobes in the upper part, tapering downwards, and alternating with 6 smaller lobes in the lower part tapering upwards, with repousse ornament of strapwork, flora, and figures of Diana, Lucretia, and Judith.","artistMakerPerson":[{"name":{"text":"Jamnitzer, Wenzel","id":"A10941"},"association":{"text":"maker","id":"AAT251917"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"silver","id":"AAT11029"}],"techniques":[],"materialsAndTechniques":"Silver","categories":[{"text":"Metalwork","id":"THES48920"}],"styles":[],"collectionCode":{"text":"MET","id":"THES48599"},"images":["2006AK3245"],"imageResolution":"high","galleryLocations":[{"current":{"text":"69","id":"THES49729"},"free":"","case":"25","shelf":"","box":""}],"partTypes":[[{"text":"cups","id":"AAT43202"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Nuremberg","id":"x29057"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1580-1600","earliest":"1580-01-01","latest":"1600-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Purchase - A. Pickert, Nuremberg (£150). This cup belonged to the Nuremburg Goldsmiths Corporation until 1868. It was acquired in 1871 in Nuremburg by Henry Cole.  \n\n\nSir Wyatt report in register. Acquired with 614-1872 and 573-1872.","historicalContext":"","briefDescription":"Cup, silver with repousse ornament of strapwork, flora, and figures of Diana, Lucretia, and Judith, by Wenzel Jamnitzer, Nuremberg, 1580-1600","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"“Die Ungarischen Bieziehungen Des Glockenblumenpokals” Mihalik.S. Acta Historiae Artium Tom. VI 1959\nGold and Silversmiths work, Pg. 130, John Hungerford Pollen, Chapman and Hall 1879"},{"reference":{"text":"","id":""},"details":"","free":"<u>Nürnberger Goldschmiedekunst. 1541-1868. Band I. Meister, Werke, Marken</u>. 2 parts. Nuremberg (Verlag des Germanischen Nationalmuseums) 2007. Part I, no. 249/05; part II, p. 798, ill. 251"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Lucretia","id":"N534"},{"text":"Diana","id":"N145"},{"text":"Judith","id":"N619"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Silver Gallery:\nThis cup once belonged to the Nuremburg Goldsmiths Corporation. and has been attributed to the workshop of Wenzel Jamnitzer. Apprentice goldsmiths applying for master-goldsmith status usually had to make a trial piece of work, or 'masterpiece' meeting an agreed standard of workmanship. From 1531 until 1572 Nuremberg apprentices were required to make a columbine cup, named after its resemblance to the columbine flower, a gold ring set with a precious stone and a steel seal die. In some guilds apprentices or journeymen were not allowed to marry until their masterpieces had been accepted, otherwise they were subject to fines. If a masterpiece was refused, applicants could continue as journeymen working for other goldsmiths or they could try to persuade a master to submit their work under their hallmark, although this defied guild regulations.","date":{"text":"26/11/2002","earliest":"2002-11-26","latest":"2002-11-26"}},{"text":"CUP\r\nSilver\r\nUnmarked\r\nSouth German (probably Nuremberg); about 1570\r\nThis cup once belonged to the Nuremberg goldsmiths' guild and was probably made by an apprentice or journeyman as a 'masterpiece' to gain admission as a 'master' to the guild. The columbine form was one of the standard types used for such 'masterpieces' in the 16th century","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["150-1872"],"accessionNumberNum":"150","accessionNumberPrefix":"","accessionYear":1872,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-30","recordCreationDate":"2004-02-09","availableToBook":false}}