A COLLECTION OF NUREMBERG GOLDSMITHS' WORK AT THE NATIONAL MUSEUM IN CRACOW

ALICJA KILIJANSKA* УДК 79.1:069.51(48) ИД 20967244 A COLLECTION OF NUREMBERG GOLDSMITHS' WORK Abstract: Nuremberg goldsmiery collection stored and exhibited at e National Museum in Krakow is quite small but diverse and interesting for bo visitors of e Museum as well as researchers interested in 17 century European goldsmiery. The beggining of e goldsmiery collection dates back to e 1880s. The collection was mainly created anks to e donors wi a smaller contribution of deliberate purchases. Among e most interesting collection items, one can find a tankard produced by a goldsmi Johann Eissler in 1682 wi decoration of playing putti and wine tasting bowl, made in e years 1645 1651 in e workshop of a Hans Schauer, whose art heritage is represented only by a few pieces. Oer exhibited items include a beaker wi a lid a work of Conrad Kerstner from e years 1670 167. An important part of e decorative art collection is e one of Judaica. In is group, ere is a Nuremberg goldsmiery exhibit item e so-called Kiddush cup made by Michael Müllner in e years 1621 1629. In is collection ere is also a Hanukkah lamp, which dates back to e middle of e 18 century, and comes from e workshop of Georg Christoph Götz. There are only a few recorded works of e goldsmi around e world. An interesting addition to e Nuremberg goldsmiery collection is a passion cross from e 18 century, wi a protruding base and predella from e beginning of e 16 century. The city's sign of Nuremberg was discovered on e predella under a decorative plaque. Key words: Beaker, Goldsmi, Collection, Cracow, National Museum The objects representing Nuremberg goldsmiery, kept and exhibited at e National Museum in Cracow (MNK), form a small but varied assembly interesting bo for visitors to e Museum and for students of modern European gold- and silversmi's art. A substantial part of e world collections of Nuremberg goldsmiing has been described in e ree-volume book Nürnberger Goldschmiedekunst 1541 1868, published by e Verlag des Germanischen * Alicja Kilijańska, аrt historian, National Museum in Cracow Nationalsmuseum in 2007. The book includes information about e majority of silver objects from e Cracow collection. However, except for very few references, ere exist no Polish publications devoted to objects from e assembly of Nuremberg goldsmi's work at e National Museum in Cracow. The origins of e museum collection of goldsmiery may be dated to e 1880s. It owes its creation chiefly to donors and to a lesser degree to specific purchases. The takeover in 1904 of e holdings of e Jan Matejko Museum contributed markedly to an increase in e assembly of Nuremberg goldsmis' works at e National Museum in Cracow. In 1950, in consequence of a change in e legal system which defined e functioning of museums in Poland, all e municipal or private museums were eier closed down or amalgamated to form exclusively state institutions. These legal changes resulted in e incorporation into e National Museum of e collection of e Museum for Technology and Industry (e former city museum) of great importance to Cracow, as well as e takeover of e care of e private Princes Czartoryski Museum, whose unique art collection significantly enhanced e status of e entire institution. Despite ese formal relations, bo e Jan Matejko Museum, later functioning as e House of Jan Matejko, and e Princes Czartoryski Museum have retained eir separate character and eir own inventories of collections. The present text focuses on e objects entered in e inventory of e National Museum in Cracow, at is, on e silver items from e subdivision 'goldsmis' work' in e Department of Decorative Art and Material Culture. The remaining specimens of Nuremberg goldsmiery, entered in e inventory of e collections of e House of Jan Matejko and in at of e Princes Czartoryski Museum, are referred to togeer wi bibliography or described if ey have not been included in e aforementioned corpus of Nuremberg goldsmi's art. The arrangement of e text allows e reader to follow e chronology of e acquisition of objects for e museum collections. The year 1904 saw e incorporation in e structure of e National Museum in Cracow at at time a municipal institution of e Jan Matejko Museum as its Department dedicated to e outstanding historicist Polish painter. 02

Alicja Kilijańska 024 Created in e artist's house, it has preserved its separate character and its own inventory of e collections which are e painter's legacy. In addition to Jan Matejko's works, e Department contains a large group of examples of decorative art. These objects once served e artist as realia or iconographic inspiration for his historical compositions. Among em are a tankard and a covered beaker, bo from a Nuremberg goldsmi's workshop (Zagrajek 1998: 9 10, 14; Kłak-Ambrożkiewicz 1999: 4, 16 18, nos. 2, 25). The tankard has a cylindrical body supported on ree spherical feet terminating in animal paws. The circular, domed lid wi a umbpiece is hinged to e body. Attached to e body is a prominent C-shaped handle. The gilt repoussé decoration of e body and lid consists of slightly spiral lobes 1 wi 'dry' acanus leaves and wi flowers. The marks: of Nuremberg (letter N) and workshop e letters SB/F in an almost heart-shaped field are stamped at e edge of e body (an additional mark of e workshop, stamped at e edge of e lid). In e corpus of Nuremberg goldsmiery e object has been dated on e basis of e variant of e city mark to e years 1670 167, and attributed to Siegmund Bierfreund (Nürnberger Goldschmiedekunst, B. I, T. 1: 505, no. BZ24, 60, no. MZ0068, 61, item 0068.12). This goldsmi, active from 1654 to 1702, specialized in e execution of drinking cups, beakers, church silver plate, and tableware. Described in e corpus are 7 surviving works among which, apart from e Cracow tankard, ere is only one more at, judging by its marks, was wrought in e same period. The two specimens bear a similar composition and arrangement of e decoration of eir bodies wi repoussé flowers and foliage (ibid.: 61, item 0068.11). The second Nuremberg object in e collection of e House of Jan Matejko is a beaker whose cylindrical body rests on ree cast spherical feet wi animal paws, and has a plain band at e edge of e lip. The repoussé ornamentation of e body is composed of ree bunches of fruit clasped wi bows to form festoons. The domed, slightly flattened cover has a narrow plain rim and a convex moulding covered wi a design which repeats at of e body. The cover is surmounted by a cast swan. The object is partly reconstructed; e feet and e bottom of e body, as well as e whole finial 2 of e beaker may be considered as elements added later. Until recently, e beaker was mentioned as e work of e goldsmi S. B. Ferrn and dated to e second half of e 17 century (Kłak-Ambrożkiewicz 1999: 16, no. 2). The marks are stamped at e edge of e body: e mark of Nuremberg dates e beaker between 1681 and 1685, 1 Inv. MNK-IX-559 h. 22 cm, w. 17.5 cm, weight: 754.6 g; purchased by e Jan Matejko Society from Jan Matejko's collections; e tankard was attributed to e Nuremberg goldsmi S.B. Ferrn; e feet, handle, umbpiece, and finial were added later, before 1895. 2 Inv. MNK-IX-556 h. 17 cm, w. 10 cm, weight: 264.6 g. and at of e workshop e letters SB/F in a heart-shaped field, similar to at on e tankard permits its linking wi e workshop of e goldsmi Siegmund Bierfreund (Nürnberger Goldschmiedekunst, B. I, T. 1: 505, BZ26, 60, no. Mz0068). This object is not mentioned in e corpus of Nuremberg goldsmis' art, where among Bierfreund's works four cylindrical beakers are described, supported on ree feet, decorated wi repoussé ornaments, one of em wi similar relief bunches of fruit; anoer ree beakers are cited from e literature (ibid.: 61 62, items 68.22, 68.2, 68.24, and 68.6). In 1921, Feliks Kopera, e en director of e National Museum in Cracow, acquired a number of new objects for e collections. During a visit paid to Henryk Loewenfeld (landowner, industrialist, and collector) in Chrzanów by e commission of specialists who were to estimate e possibility of taking his collection out of e country, Kopera was presented wi, among oer pieces, a Nuremberg covered beaker. The extant note describing e purpose of e commission's visit does not include information as to wheer e beaker had been chosen by e collector or indicated by Director Kopera. The collection of Henryk Loewenfeld (1854 191) was large and varied, as witnessed an auction catalogue of 199, containing a list of auctioned items from is collection. At e auction held after e collector's dea, offered for sale in addition to paintings and sculptures was a group of objects of decorative art, including a few examples of Augsburg goldsmiery. There were no more items of Nuremberg 4 silverware on e sale list. Perhaps e covered beaker presented to e Museum was e only specimen of silverware from is centre in Loewenfeld's collection. In e postwar scientific description of e object presented in a catalogue of silverware it was linked wi Conrad Kerstner's workshop and dated to e end of e 17 century (Bujańska 1972: 6, item 29, ill. 27; Lebet-Minakowska 1999: 26 28). The beaker of gilt silver-has a cylindrical body spun in its bottom part, resting on ree cast spherical, pomegranate-shaped feet. A plain band runs at e edge of e lip. The decoration of e body is repoussé and engraved wi an acanus vine wi a tulip, peony, and rose. The domed, slightly flattened cover has a narrow plain rim and a repoussé convex moulding wi a floral-and-plant wrea. It is 5 surmounted by a gilt cast cone-shaped finial (ill. 1). Inventory of MNK, corr. reg. 951, 12.05.1921 Director Feliks Kopera's written report of his visit on 10 May1921, during which Tadeusz Szydłowski and e Revd Tadeusz Kruszyński, among oers, were present. The following objects were donated en: a beaker and cover, inv. MNK-IV-Z-92/ab; a key wi e coat of arms of Cracow, inv. MNK-IV-M-1281; and a clock, inv. MNK-IV-Zeg-9. 4 Licytacja zbiorów ś.p. bar. Loewenfelda, Paryż-Chrzanów (dwór), Salon Sztuki i Antykwarnia Abe Gutmajera, auctioned on 1-2 and 5-6 June 199 [Warsaw], pp. 11, 15. 5 Inv. MNK-IV-Z-92/ab h. 15.9 cm, w. 8.6 cm, weight: 229.60 g; e beaker was gilded at a later date, and its present cone of cast brass-gilt is a later addition.

A COLLECTION OF NUREMBERG GOLDSMITH'S WORK 1. 1. Чаша са поклопцем, Нирнберг, Конрад Керстнер, 1670 167. Народни музеј у Кракову Beaker and cover, Nuremberg, Conrad Kerstner, 1670 167. National Museum in Cracow The marks are stamped on e underside of e vessel: one of Nuremberg and anoer of Kerstner's workshop e letters CK wiin a lying rectangle e latter mark repeated on e cover. The variant of e city mark permits e dating of e beaker to e years 1670 167 (Nürnberger Goldschmiedekunst, B. I, T. 1: 641, no. BZ 24a; 215, no. MZ0428a mark of Kerstner's workshop, e first variant). Additionally, stamped twice at e edge of e body and at at of e cover is an Austrian contribution mark in use from 1806 to 1807, wi e letter D, which was used at e assay office in Lwów (Gradowski 2010: 278, no. 25). The object and its marks are entered in e corpus of Nuremberg goldsmiery, where 16 surviving and studied products of Conrad Kerstner's workshop are mentioned. This goldsmi, active in e second half of e 17 century, specialized in making church silver and silver mounts for vessels (mainly tankards) of ivory and faience. In e group of beakers, in addition to e Cracow object, only one more analogous vessel is described which bears a similar decoration, rests on ree pomegranate-shaped feet, but, unfortunately, wi its cover missing. The latter specimen, held at e Metropolitan Museum of Art, is provided wi e same variant of e master's mark, but e city mark on it permits its earlier dating, at is, between 1665 and 1669 (Nürnberger Goldschmiedekunst, B. I, T. 1: 215 216, items 428.01 and 428.04). Executed wi meticulous care, e Kerstner beaker is nevereless a typical product, similar known examples from oer Nuremberg workshops having also been recorded. The first object representing Nuremberg goldsmis' art was purchased for e collections of e National Museum in Cracow in 196. It was recorded en in a correspondence register as follows: 'a crucifix was purchased [which had earlier been acquired] by e canon Ślepicki, of silver, partly gilt, from e 16 century (e middle part) and e 17 century. From a scientific description of e object on an inventory card of at time we learn at e Passion piece was acquired at an antique shop in Cracow, following e dea of Faer Marceli Ślepicki; it is also emphasized ere at he, too, had earlier bought it on e Cracow antiques market. Its mark e letter N in an oval is described in detail and e object is defined as an example of Nuremberg goldsmiing. It is additionally indicated at e middle part of e composition, at is, a small predella, is a Goic, early 16 -century element incorporated into an object dating from 6 e second half of e 17 century. The Passion is set on a tall base of sheet silver in e form of a truncated pyramid supported on four spherical feet. Soldered onto e front side of e base is a coin bearing on its obverse e image of e Risen Christ and e inscription: SALVATOR MUNDI SALVA NOS MDCXLII, and on e reverse a portrait of Christine of Sweden and e inscription on e rim: CRISTINA D:G : SVAE GO WANDA. RE.E.PR:HAE. Likewise soldered onto e back side is a medallion bearing e image of St Agaa wi a palm leaf and an attribute of her martyrdom her cut-off breasts on a dish held by a putto. Set on e base is a two-sided predella wi figural scenes in relief: on e front, applied to e predella is e Coronation of e Virgin Mary, and on e back, forming a whole wi e predella, is e Lamentation over e Dead Christ benea e cross, wi e Virgin Mary and St John and wi an engraved landscape in e background. The predella is surmounted by a rectangular plate bearing e Instruments of e Passion supported by two cherubs, and ree tubular holders one in front of and two flanking e slender cross wi e cast figure of Christ e titulus, and a 6 MNK corr. reg. 91/6, vol. V, p. 120, 0 Oct.196 information about e purchase of a crucifix; Inventory of MNK, vol. XI, inv. MNK 5.66 e main entry in e inventory extended by information of a mark e letter N; e so-called old inventory card wi a detailed description of e origin and of e mark 025

Alicja Kilijańska 026 7 skull (ill. 2). The city mark e letter N in a circular field is placed under e applied scene of e Coronation of e Virgin. This mark, one of e oldest used in Nuremberg, has not been mentioned in e corpus. In its form it resembles e recorded variant of e mark dating from before 15, but it may be accepted at e object goes back to e beginning of e 16 century (Nürnberger Goldschmiedekunst, B. I, T. 1: 500, no. Bz02d). Stamped at e edge of e base and on e cross is an Austrian contribution mark in use from 1806 to 1807, wi e letter E, which was used at e assay office in Cracow (Gradowski 2010: 278, no. 26). The early 16 -century predella is e oldest and most interesting Nuremberg object in e collections of e National Museum in Cracow; ere are no published analogies to it. It was integrated into e remaining parts of e Passion probably in e 18 century, using elements dating from e second half of e 17 century e coin set in e base is a half-aler of Christina of Sweden, minted in Stockholm in 1642 (Tingström 196: 141, no. 2). The contribution marks confirm at early in e 19 century e whole object remained in e place covered by e Cracow 8 assay office, probably in Cracow itself. The last owner of e crucifix prior to its acquisition by e Museum in 196 was e above-mentioned Faer Marceli Ślepicki (186 196), dean of e Cracow Chapter, known, for instance, to have commissioned in 1929 an embroidered chasuble in e Art Déco style for e Wawel caedral (Czyżewski 2000: 267, item I/261). In e late 190s, e National Museum in Cracow, having received some grants from e Ministry of Religious Denominations and Public Enlightenment, began to assemble e Judaica. The funds were allotted chiefly for e acquisition of silverware and oer items of metalwork, as well as synagogal textiles and ose of oer kind which were connected wi Jewish culture and custom (Lebet- Minakowska, Odrzywolska and Paś 2008: 6). The objects acquired in 198 included a goblet purchased for 18 zlotys from a middleman, Szymon Rabinowicz. According to his declaration, it came from a synagogue in Lublin and was erefore included in e collections as a Jewish item. On e catalogue card its marks were described wiout reference to any specific centre. Described on e card was also e state of preservation of e goblet, at is, its foot of a later date, numerous abrasions worn 9 in e sheet silver, and traces of soldering wi tin. The vessel 7 Inv. MNK-Z-1077 h. 28.9 cm, w. 1. cm, dep: 9.5 cm, weight: 85.28 g. 8 This object will be e subject of a separate study now in preparation, 9 Inv. MNK 5.55 e so-called old inventory card wi a drawing of e object. MNK Archives 5 Jan. 198, no. 88 a receipt 'for a worn silver cup, originating from a synagogue in Lublin', signed by Rabinowicz. 2. Страдање Христово, Нирнберг, почетак XVI века и почетак XVIII века. Народни музеј у Кракову 2. The Passion, Nuremberg, early 16 and early 18 centuries. National Museum in Cracow has a circular flat foot (added at a later date), a stem in e form of a lobed baluster annulated at e top and bottom, and a bowl, conical in shape, repoussé in its lower part wi ree rows of e so-called grapes, while its upper half is septangular. The upper section of e bowl is engraved wi e decoration consisting of seven suspended festoons of plants and fruit. The whole vessel was originally gilded, but 10 only vestiges of gilding have survived (ill. ). The object must have been kept buried in ear or stored in oer unfavourable conditions, and prior to its acquisition for e Museum collections had probably been amateurishly mended. The new foot was made of silvered metal and soldered to e stem; a similar meod was used for joining e stem wi e bowl whose lower part is perforated in several places and reveals numerous traces of soldering on its outer surface. 10 Inv. MNK-IV-Z-955 h. 14.7 cm, diam. of foot 7.6 cm, diam. of bowl 7.2 cm, weight: 155.84 g.

A COLLECTION OF NUREMBERG GOLDSMITH'S WORK. Пехар, Нирнберг, Михаел Милнер, 1612 1629. Народни музеј у Кракову. Goblet, Nuremberg, Michael Müllner, 1612 1629. National Museum in Cracow The marks are located amidst e engraved festoons on e sides of e bowl. The city mark permits e dating of e object to between 1612 and 1629. The workshop mark e letters MM in a heart-shaped field belongs to Michael Müllner (Müller) and is e second variant used by is goldsmi (Nürnberger Goldschmiedekunst, B. I, T. 1: 50, no. BZ1; 287, no. Mz060b). Michael Müllner, active from 1612 to 1650, is entered in e corpus of Nuremberg goldsmi's art as e maker of 22 described and surviving works, more an a half of is number being drinking cups and goblets. Owing to its recorded provenance, only e Cracow goblet is defined in e corpus as a 'Kiddush goblet' (ibid.: 287 288, item 60.08). No similar vessels have been recorded among e goldsmi's extant works. From e description of Müllner's products in Rosenberg's book it follows at a goblet resembling e Cracow piece in form and decoration was once kept at e no longer existing Schlesisches Museum für Kunstgewerbe und Altertümer in Wrocław (Breslau) (cf. R : 191, no. 4151p). The decoration of e upper part of e bowl wi engraved plant-and-fruit festoons is characteristic of numerous specimens of Nuremberg silverware dating from e first quarter of e 17 century. The ornamental variant in e Cracow object appears in an identical version on e bowl of a drinking cup by Peter Sigmund, of 1609 1624 (Nürnberger Goldschmiedekunst, B. I. T. 2: 879, ill. 447). The group of Judaica which found eir way to e Museum after World War II includes a Hanukkah lamp a gift from e Łomiński family, handed over to e Museum in 1957. The donors, Prof. Iwo Łomiński and Dr. Irena Łomińska are e inheritors of Elza Krause (Łomińska by her first marriage), née Sare, an art collector and a great benefactor to e National Museum in Cracow, who died in e same year; she was e daughter of Józef Sare (1854 1925), for many years e deputy mayor of Cracow and also its mayor, a man who rendered great service to e city (Ostrowska 197: 11 87 88; Róg 1994: 189 19). Initially, e object was defined as 'a Polish work of about 1800' and its marks were described in detail but wiout a reference to any specific centre. Following e re-inventorying of e lamp several years later, it was described on e basis of Rosenberg's book as originating from e workshop of Master G/CG of Nuremberg (R : 41, no. 767; 64, no. 40). The Hanukkah lamp is made of sheet silver; it has a pair of legs in e form of cuboid pedestals wi cast lions, a back-screen secured wi nuts, and eight oil containers of elongated form, placed above a rectangular trough. The back is cut out wi a symmetrical repoussé decoration of rocaille motifs, wi a cut-out central cartouche covered wi sheet metal at a later date, above which is an additional oil container fixed to e back. The cartouche-shaped opening now covered may have been filled wi anoer, perhaps inscribed, plate 12 (ill. 4). The city and workshop marks are stamped twice on e screen and at e edge of e trough: e mark of Nuremberg is e variant used between 175 and 176. According to e corpus of Nuremberg goldsmis' art, which does not mention e Cracow piece, e goldsmi's initials may be linked wi e master Georg Christoph Götz, active from 1744 until 1777. Only ree sets of extant objects from his workshop have been described: a fragment of a shield for e Torah, a set for e Lord's Supper, and a set of cutlery 11 The lamp probably comes from Elza Krause's house and after her dea was handed over by her inheritors to e National Museum in Cracow. Perhaps it was an heirloom kept by is assimilated Jewish family, 12 MNK MN/Zb/II-4/57, 25 Feb.1957 a gift from Dr. Irena Łomińska and Iwo Łomiński; inv. MNK 01.654 e so-called old inventory card of 1957, inv. MNK-IV-Z-10 h. 21 cm, l. 24.4 cm, dep: 7 cm, weight: 586 g. 027

Alicja Kilijańska 4. Менора, Нирнберг, Георг Кристоф Гец, 175 176. Народни музеј у Кракову 4. Hanukkah lamp, Nuremberg, Georg Christoph Götz, 175 176. National Museum in Cracow 028 (Nürnberger Goldschmiedekunst, B. I. T. 1: 509, no. BZ9a; 1 14, item 285, no. MZ0285). A synagogue object by Master G/CG, presumably identical wi Götz, is mentioned by Rosenberg, who quotes e information about 'a partly gilt shield for e Torah', originating from Crelingen in Württemberg (R : 64, no. 40). In view of such a scanty extant legacy and as many as ree objects connected wi synagogal worship, it may be presumed at Götz specialized in e production of silver articles of is kind. He mainly applied a rocaille ornament, a motif also present in e Cracow lamp and e liturgical set referred to in e corpus. The Hanukkah lamp is e most recent Nuremberg object at e National Museum in Cracow. The collection of e Museum for Technology and Industry in Cracow, taken over by e National Museum, includes an attractive tankard by e goldsmi Johann Eissler 1 Besides, stamped ree times, additionally on e oil container, is a warden's (?) mark a halberd in a field, not recorded. and a small wine bowl from Hans Schauer's workshop. The tankard was purchased for e city Museum for Technology and Industry in 1901, rough e agency of Izydor Judda, from e collection of Jakub Judkiewicz, a Cracow industrialist and collector of historical metalwork. It was inventoried as a Nuremberg work, but e goldsmi's mark was not identified. Information concerning e vessel was published for e first time already ree years after its acquisition, at is, in 1904. In at year an exhibition of historical metal objects was organized in Cracow, which covered all branches of metalwork and presented e most interesting examples from public, church, and private collections. The accompanying catalogue contained a brief note of e tankard, repeating information from e inventory card (Katalog 1904: 20, item 24). An illustration of e tankard appeared for e first time in 1922 in e Revd Tadeusz Kruszyński's article on

A COLLECTION OF NUREMBERG GOLDSMITH'S WORK goldsmi s' works from e collection of e Museum for Technology and Industry; it was defined as 'a silver pail of Nuremberg workmanship'. Furer down e auor describes e object, giving e inscription 1682, dimensions, information about marks, defining at of a workshop as 'e mark of an unknown master of Nuremberg'. A laconic reference to e object, is time described as 'a tankard wi cupids', appears in a 1928 guide to e Museum for Technology and Industry (Kruszyński 1922: 28 0, ill.; Przewodnik 1928: 27). Since 1950, e tankard has officially been included in e holdings of e National Museum in Cracow, where it was on display in 1960 at an exhibition of decorative arts. Two years later, it was formally taken over and entered in e Museum's collec-tion of goldsmi's works wi a new inven- 14 tory number. The mark identified on e basis of Rosenberg's book as at of e master Johann Eissler was to be entered in its new inventory card written after 1962 at e National Museum in Cracow (R : 29, no. 4250). The tankard has a circular foot wi a half-round moulding and wi a band of repoussé decoration composed of plant-and-fruit festoons. The underside of e foot is engraved wi e date 1682. The cylindrical body bears a relief repoussé design consisting of two putti carrying foliageand-fruit garlands and four children playing wi garlands of fruit and plants. Except for e children's bodies, e entire outer and inner surfaces of e vessel are gilt. The S-shaped handle is adorned wi beading and surmounted by a spherical hinge and a umbpiece in e form of two pierced acanus leaves. The handle terminates at e bottom wi a shield bearing e arms of e Tucher family. The vessel is covered wi a circular moulded lid hinged to e body, wi a prominent umbpiece in e shape of a pomegranate. Its repoussé ornamentation is composed of 14 Inv. MP 19071-VIIB-42 1 Dec.1901, purchased for 1,500 crowns (kronen); 9 May 1960 loaned for e exhibition, in 1962 taken over by e National Museum in Cracow and included in its collections. 5. Врч, Нирнберг, Јохан Ајслер, 1681 1682. Народни музеј у Кракову 5. Tankard, Nuremberg, Johann Eissler, 1681 1682 National Museum in Cracow fruit-and-foliage festoons and a 15 laurel wrea above (ill. 5). The hinge wi a umbpiece, on which e lid is secured, are replacements, prob ably dating from e 19 century. The original finial of e lid has also been remounted, but ese interventions have not significantly affected e aes- 16 etic value of e tankard. The marks: of Nuremberg and of Eissler's workshop are stamped twice on e underside of e vessel and at e edge of e lid. The variant of e city mark was used from 1681 to 1685. The inscribed date on e underside of e bottom of e tankard allows e time of its execution to be narrowed down to e period 1681 1682. The mark of Johann Eissler's workshop a helmeted head (?) in a shield is e second known variant of is master's mark (Nürnberger Goldschmi - ede - kunst, B. I. T. 1: 505, no. BZ26; 109, no. MZ 0198b). The additional, temporary mark at e edge of e lid, stamped in e Congress Kingdom of Poland in 1851, indicates at in at year e tankard must have been kept in a store which remained wiin e jurisdiction of e Warsaw assay office. The absence of a new hallmark signifies at wiin a year of stamping e vessel it was sold (Gradowski 2010: 294, 298, no. 2). The corpus of Nuremberg goldsmi's art records 55 preserved and studied objects from Johann Eissler's workshop, including e tankard at e Museum in Cracow. This exceptionally active goldsmi, working from 1665 until 1708, specialized in church silver plate, but executed table silverware, such as beakers, drinking bowls, tankards, and cutlery, as well. Moreover, ere have survived a number of silver mounts for tankards wi ivory bodies. This list includes only two tankards made entirely of silver in addition to e Cracow specimen ere is one more, smaller tankard at e Museo Palazzo Venezia in Rome, which dates 15 Inv. MNK-IV-Z-2020 h. 21.5 cm, w. 19 cm, weight: 70 g. 16 A circular opening was cut out clumsily in e top of e lid and was next covered from below wi a new round plate on which e original finial in e form of a poppy head was re-mounted. 029

Alicja Kilijańska 6. Посуда за вино, Нирнберг, Ханс Шауер, 1645 1651. Народни музеј у Кракову 6. Wine bowl, Nuremberg, Hans Schauer, 1645 1651. National Museum in Cracow 00 from before 1681 (Nürnberger Goldschmiedekunst, B. I. T. 1: 109 112, items 198.08 and 198.52). Furermore, among e extant Eissler works, omitted from e aforesaid list, may be mentioned a tankard in e collection in Sankt Gallen. However, it bears a different decoration composed of figural representations wiin medallions and of ornaments rendered in a more graphic manner, unlike e exuberant relief figures of children at play present on e Cracow vessel (Sankt Gallen 1969: 26, item 7). According to e notes on e 1929 inventory card, a small wine bowl found its way to e Museum for Technology and Industry before 1911. There is no record of how it was acquired. The card contains a very brief description of e bowl, but does not give its marks. The object was formally included in e collections of e National Museum in Cracow in 1950, and incorporated into its assembly of goldsmis' 17 work in 1962. The bowl has a short circular and moulded foot on which a hemispherical body wi a pair of cast, S-shaped handles is mounted. The decoration of e body consists of a wide band filled wi a stamped so-called shagreen pattern, 17 Inv. MP 246-VI.112 a card of 1929, wi e stamp 'The specimen included in e collections before 1911 (wiout number, provenance or any oer indications)'. wi discernible traces of gilding (ill. 6). Set in e bottom of e bowl is a coin a tetradrachm bearing a portrait of Alexander e Great. Such coins were struck after e king's dea, in Odessos (Varna) and are dated between 125 and 70 BC, or were minted in Mesembria (Nesebâr) between 125 and 65 BC. As e reverse of e coin is not accessible, it is impossible to study e object in detail and to date and 18 precisely determine its origin. It was not e goldsmi's intention to set e ancient coin at e bottom of e bowl. The coin was added at a later date, as indicated by its careless fixing, wholly against e principles of goldsmi art. As a result of 19 mechanical damage to e foot e bowl is slightly askew. The marks are stamped at e upper edge of e body of e bowl: one of Nuremberg (in use from 1645 to 1651) and e oer of e goldsmi's workshop e letters HS/ in a field resembling a heart in shape. The latter mark is noted in e corpus of Nuremberg silverware as at of e master Hans Schauer, active from 164 until e years 1657 1659. Only a 18 Inv. MNK-IV-Z-215 h. 4.2 cm, diam. 9.2 cm, weight: 64.2 g. I wish to ank Dr. hab. Jarosław Bodzek of e Numismatic Department of e National Museum in Cracow for information concerning is coin. 19 The coin was soldered on wi tin, traces of which are visible at e bottom of e vessel. The damage to e bowl may have been e effect of its use, for instance, a repeated striking of e bowl against a hard surface.

A COLLECTION OF NUREMBERG GOLDSMITH'S WORK few objects from his workshop have survived; ese are mainly drinking cups and goblets representing a repertory of traditional forms and decorations employed in Nuremberg goldsmiing. The Cracow small wine bowl has no analogies among oer surviving works by Schauer (Nürnberger Goldschmiedekunst, B. I. T. 1: 641, no. BZ18; 72, item 78.04, no. Mz0782). The fact at e National Museum in Cracow took over e care of e collections of e private Princes Czartoryski Museum was not tantamount to e amalgamation of e holdings of e two institutions (Rostworowski 1998: 179 18). There are two parallel departments functioning wiin e National Museum's structure which are in charge of decorative arts e Department of Decorative Art and Material Culture (IV), responsible for e objects owned by e National Museum, and e Department of European Decorative Art (XIII) for ose belonging to e Princes Czartoryski Museum. The most valuable objects of goldsmi's art in e collections of e Princes Czartoryski Museum are described in e catalogue compiled by Jadwiga Bujańska. Mentioned erein are ree precious Nuremberg pieces from is assembly, e oldest of em being a drinking cup of a nautilus shell mounted in silver, executed at Michael Mader's workshop between 160 and 1609. Next comes a goblet wi a repoussé design of grapes, from Eustachius Hohmann's workshop, 1609 1612, and a Nef (boat-shaped vessel) a drinking cup wrought between 1609 and 1629 at e workshop of Esaias zur Linden (Bujańska 1972: 45, item 8, 51; item 15, 52; item 16). These objects are entered in e corpus of goldsmi's art, where, additionally, a tazza from e same collection is indicated as a probable work of Conrad Kerstner's workshop (Nürnberger Goldschmiedekunst, B. I. T. 1: 262, item 546.0; 18, item 74.12; 257, item 527.24; 216). The foot of e tazza is tall, convex at e top and bottom and waisted in e middle. Its silver stem is cast in e form of e figure of Nike which supports a pierced fragment of e original stem. The circular, wide and shallow bowl of e vessel was made togeer wi e foot of silver spun and 20 beaten, e entire object being gilded at a later date. The mark of Kerstner's workshop is stamped at e edge of e foot and on e outside of e bowl, in its lower section where also e city mark is punched, e latter resembling e version used in Nuremberg between 1581 and 1685. The mark of Kerstner's workshop C*K present here is its second described variant (ibid.: 505, no. BZ26; 215, no. Mz0428b). The tazza is probably a creation from e first half of e 19 century, combined of elements of Kerstner's work. The 20 Inv. MNK-XIII-94 h. 21.4 cm, diam. 1.2 cm; e bowl bears a German inscription probably not original. original foot, a fragment of e stem, and e bowl were joined togeer by means of e silver figurine of e goddess Nike, e figure having presumably been cast when e vessel was being reconstructed. In 1998, e National Museum in Cracow acquired a covered beaker wi Nuremberg marks. It was purchased togeer wi a number of oer items of museum value from Adam Karol Czartoryski; ey were part of e deposit left by e Czartoryski family in 192 in e collections of e private Princes Czartoryski Museum in Cracow. The deposit had been made by Prince Augustyn Czartoryski, Adam Karol's faer, as confirmed by an entry in e book of deposits of is museum. The object is defined ere as a 'silver box' wrought at a Nuremberg goldsmi's workshop about 1676, and a detailed description of it is given togeer wi a reference to e numbers in Rosenberger's book (R : 241, no. 765; 247, no. 21 426). Following e takeover of e care of e Czartoryski collection by e National Museum in Cracow, e covered beaker was entered in a new book of deposits, and since 1971 was on display in e modernized exhibition at e Czartoryski Museum, a Department of e National 22 Museum. The political changes in Poland since 1989 have entailed e necessity of resolving e matter of e relations of ownership. On e streng of an agreement wi e Polish government Karol Adam Czartoryski, e heir of e owner of e private Princes Czartoryski Museum, consented to e establishment of e Princes Czartoryski Foundation, which became e proprietor of e assembly entered in at Museum's inventory before 1950. The family's private deposits were returned to it, ese including e beaker described above. In 1998, e inheritor decided to sell one part of e deposits of e Princes Czartoryski Foundation. Among ose designed for purchase was also is beaker which, already as e Foundation's property and subsequently as at of e National Museum in Cracow, was displayed in its 2 Department e Princes Czartoryski Museum until 2010. 21 Czartoryski Library, ref, sym. 12915 e Book of Deposits of e Princes Czartoryski Museum in Cracow, item 12, 10.06,192 an entry togeer wi a detailed description by e curator Stefan Komornicki. 22 Księga depozytów sporządzona w r. 195 przez Kazimierza Axentowicza zawiera 200 pozycji od poz. 1681 do 1800, no. D. Cz. 1618/ab, exhibition from 24 May 1971. It was probably due to its legal status (private property) at e beaker was not included in Bujańska's catalogue of silverware, in which e remaining Nuremberg objects from e Czartoryski collection are described. 2 MNK Archives, DI-0020-1/98, pp. 11, 11.0.1998 e deposit was purchased wi e funds allotted for is purpose by e Ministry of Culture and Art and was entered in e inventory book togeer wi oer objects which belonged to e Princes Czartoryski Foundation in e Department of European Decorative Art of e Princes Czartoryski Museum a Department of e National Museum in Cracow (inv. MNK-XIII-250/ab); subsequently, by e decision of e Director of e National Museum in Cracow, no. 0 dated 18 June 1999, ey were entered in e inventory of e Department of Decorative Art and Material Culture of e National Museum in Cracow (inv. MNK-IV-V-1422/ab). In 2010, e Princes Czartoryski Museum was closed for a orough renovation and improvement of e buildings. 01

Alicja Kilijańska 02 The beaker is wrought of silver partly gilt; it has a cylindrical body spun in its lower part, supported on ree spherical cast feet, and a plain band at e edge of e lip. The repoussé and engraved decoration of e body is composed of six flowers on acanus stems. The domed, slightly flattened cover has a narrow plain rim and a half-round moulding repoussé wi a flower-andacanus wrea. The cast knob-shaped finial is a later addition. Discernible in e lower part of e body, at two feet, are two cracks wi sheet silver losses. In e cover one leaf is missing from e cut-out decoration around e knob (ill. 24 7). The Nuremberg marks are stamped on e underside of e vessel a city mark in e variant recorded from 1685/ 1686 to 1689, and a workshop mark defined as e 'Master wi a Running Dog' (Nürnberger Goldschmiedekunst, B. I. T. 7. Чаша са поклопцем, Нирнберг, 1685 1689. Народни музеј у Кракову 7. Beaker and cover, Nuremberg, 1685 1689. National Museum in Cracow 1: 506, BZ27; 482, no. MZ1061b). There is no city mark on e cover, and e workshop mark stamped on it is partly illegible, 25 is preventing its attribution to any specific goldsmi. Furermore, e vessel bears two sets of Austrian contribution marks: on e inside of e body and at e edge of e cover a mark in use from 1809 to 1810 (for small articles) which was stamped in e whole of e Empire, as well e mark in use between 1806 and 1807, stamped twice (on e inside of e body) a mark for medium-sized articles, wi e letter D - which was used by e assay office in Lwów (Gradowski 2010: 278, no. 0; 278, no. 26). The above-described arrangement of marks as well as visible differences in e mode of embossing e design lead us to suppose at e beaker from one Nuremberg workshop was fitted wi a suitable cover from anoer workshop or even from anoer centre. The presence of contribution marks justifies e supposition at e beaker and e cover had been joined togeer before e object was bought out, at is, prior to 1806. In e corpus of Nuremberg goldsmiery five works are attributed to 'The Master wi a Running Dog', ree of which are typologically similar to e above-described example cylindrical beakers on ree spherical feet. The goldsmi used two varieties of repoussé ornamentation eier oval medallions wi depictions of landscape or plant-and-fruit decoration. The auors of e corpus associate e master's mark described here wi e goldsmi Hans Leonhard Wolff, who was working in Nuremberg from 1672/167 to 1709, but his workshop mark and extant works are not known (Nürnberger Goldschmiede-kunst, B. I. T. 1: 482, no. 1061.01, 0, 04; 457, no. 985). The last example of Nuremberg goldsmiing acquired for e collections of e National Museum in Cracow is a drinking cup wi a cover. It was one of a number of items transferred to e Museum from e Customs House in Szczecin in 2001, togeer wi a description pointing to its 26 being a 17 century Nuremberg object. This dating is questioned by e auor of e catalogue card of e object written in at year, who defines e cup as 'an imitation of a Baroque object' dating from e 27 19 20 century. However, Ursula Timann, when studying examples of Nuremberg goldsmiery for e corpus of 24 Inv. MNK-IV-V-1422/ab h. 14.6 (9.2) cm, diam. 9.1 cm, weight: 120.81 g; leng of losses: 1.7 cm and 2.9 cm. 25 No. D. Cz. 1618/ab on e postwar deposit card e mark in e form of a rectangle wi e first letter illegible and e second letter R, was linked but wi indication of some doubts - wi e workshop of e Nuremberg goldsmi Reinhold Rühl (Riel) active between 1652/165 and 1686/1705. This esis cannot be corroborated on account of e state of e mark. The stamped mark does not resemble any of e four reproduced marks of is master's workshop, cf. Nürnberger Goldschmiedekunst, B. I. T. 1: 66, no. 769, MZ0769a-d. 26 MNK DI/85020/06/01, 21 May 2001 a transference from e Customs House in Szczecin by e decision of e Office of e General Conservation Officer; e National Museum in Cracow as a state institution receives free transfers of objects of historic value, confiscated on e borders. Togeer wi e cup, some oer silver items were turned over to e Museum: a wine jug (inv. MNK-IV-Z-2812), a pair of candlesticks (inv. MNK-IV-Z-2808/1-2), and two sugar containers (inv. MNK-IV-Z- 2809/ab and MNK-IV-Z-2810/ab). 27 Inv. MNK-IV-Z-2811/ab card of 29 June 2001, h. 0.5 cm, w. 11.9 cm, weight: 0. g; e auor of e card, senior curator Stanisława Odrzywolska, describes e marks in detail and links e object wi e workshop of an imitator of Wolfgang Rössler.

A COLLECTION OF NUREMBERG GOLDSMITH'S WORK silverware from is centre, included e cup in e group of original works by Rössler (Nürnberger Goldschmiedekunst, B. I. T. 1.: 54, no. 79.06; T. 2: 781, ill. 215). The cup wi a cover has e form of a deciduous tree wi a circular foot, domed (a stilted arch in section), wi e initials W.F.v.G. engraved on its underside. The stem in e form of a tree trunk is narrow and slender; it is flanked by two figures of bearded men. The bowl is spherical, truncated at e lip; at its base, around e stem ere are six hanging lanceolate leaves. The domed cover (surmounted by a cast male figure analogous to ose on e stem, but additionally leaning on a shield) and e bowl togeer form a globular body. The decoration covering e whole surface of e foot, bowl, and cover, and partly gilt, is embossed wi e motifs of roots, branches, and leaves of a tree. The entire insides of e bowl and cover were gilded at a later date. The heraldic shield in e finial is a later, probably а 19 century addition. Tiny dents on e metal are visible at e - edge of e foot and also perforations of e edge caused by e stamping of e contribution mark. The branch carried by e man in e finial is cracked. The sets of marks a city mark and at of a workshop are stamped ree times: at e edges of e foot and bowl, and inside e cover. The variant of e city mark dates of e object to e years 1688 1692, e master's mark of Rössler a flower in a field is his first recorded variant (Nürnberger Goldschmiedekunst, B. I. T. 1: 506, no. BZ 28; 54, no. MZ079a). At e edge of e foot ere is a Prussian duty mark for e years 1809 1810, which was stamped on e silver articles bought out by e owner (Gradowski 2010: 288, no. 2a). The cup described here has no analogies in Rössler's extant oeuvre or in e known and described works by oer Nuremberg goldsmis of at time. Wolfgang Rössler, working from 1682 168 to 1717, left 22 works, which are described in e corpus of Nuremberg goldsmi's art. Those known to us include beakers on ree feet, church silver plate, and drinking cups. He also produced silver mounts for vessels of exotic and costly materials (Nürnberger Goldschmiedekunst, B. I. T. 1: 5 54, item 79). Moreover, e collection of e National Museum in Cracow contains examples of e imitation of Nuremberg goldsmiery. In 1949, e Museum was presented wi a large collection of decorative art, of diverse quality, which had been assembled by Leon Kostka. It included a pair of flacons which were inventoried as 'Nuremberg, presumably e 19 century 28 in e style of 16 /17 -century products'. Each of e two pieces has a solid bell-shaped foot and a strongly flattened oval body surmounted by a short cylindrical neck wi an everted lip. Their stoppers are also cylindrical wi beret-like tops terminating in a ring for a chain. The cast decoration on bo wide sides of e body, on one flacon depicts a female version of Hippocampus and a Centaur abducting a woman and on e oer, Pan playing e flute and a Muse playing e lute. On eier of e remaining two sides of each flacon ere is a gilt mask wi a ring for 29 hanging a chain. The marks on bo specimens have been cast and not stamped on e underside of e foot. The flacons bear an imitation of e mark of Nuremberg e letter N in an oval field and a workshop mark: ree stars wiin a triangular field wi a bar across it. The flacons bear signs of e ageing of e underside of eir feet. The scratches on it are not e effect of e natural wear or abrasion of e surface rough years of use. The flacons proved to be an interesting material for research when e corpus of Nuremberg goldsmis' art was being prepared. Its auors considered e marks to be an imitation of at of e master David Lauer active from 158 to 1619. Interestingly, ese auors succeeded in finding yet anoer object wi a mark which imitated at used by Lauer a stag-shaped drinking vessel at e Landesmuseum Württemberg in Stuttgart (Nürnberger Goldschmiedekunst, B. I. T. 1:495, no. MZ114; 645, no. BZU5). Translаted by / превод: Krystyna Malacharek 0 28 MNK, corr. reg.165/49, vol. VI, p. 159, 12 Apr. 1949 recorded erein is e reception of Leon Kostka's collection; MNK 157.445, 157.446 e so-called old catalogue cards for e years 1949-1950 wi a description and drawings of e objects. 29 Inv. MNK-IV-Z-669ab h. 8.7 x 4.8 cm, weight: 81 g; inv. MNK-IV-Z-670/ab dim. 8.7 x 4.8 cm, weight: 7.95 g.

Alicja Kilijańska REFERENCE LIST 04 Gradowski, M. 2010 Znaki na srebrze. Znaki miejskie i państwowe używane na terenie Polski w obecnych jej granicach, Warszawa: Hereditas Foundation. Lebet-Minakowska, A., Odrzywolska, S., Paś, M. 2008 Galeria Rzemiosła Artystycznego. Judaika : A Guide, Kraków: Muzeum Narodowe w Krakowie. Nürnberger Goldschmiedekunst 2007 Nürnberger Goldschmiedekunst 1541 1868, Meister, Werke, Marken, B. I. T. 1, 2, oprac. Karin Tebbe, Ursula Timann i Thomas Eser oraz Ralf Schürer, Birgit Schübel, Peggy Grosse, Said Habib i Urlike Rajen, Germanischesnational Museum, Nürnberg: Verlag des germanischen Nationalmuseums. Czyżewski, K. J. 2000 Wawel 1000 2000. Jubilee Exhibition. Artistic culture of e Royal Court and e Caedral, Wawel Royal Castle: 1, 267. Kłak-Ambrożkiewicz, M. 1999 Złotnictwo z kolekcji Jana Matejki : exhibition catalogue, Wrocław: Museum of Medalic Art. Branch of e City Museum of Wrocław. Lebet-Minakowska, A. 1999 Henryk Loewenfeld a forgotten collector, Gazeta Antykwaryczna 12, 26 28. Rostworowski, M. 1998 Część III: Kraków, in: Muzeum Czartoryskich. Historia i zbiory, Kraków: Muzeum Narodowe w Krakowie, 179 18. Zagrajek, A. 1998 Dom Jana Matejki. Oddział Muzeum Narodowego w Krakowie, Kraków: Muzeum Narodowe w Krakowie. Róg, R. 1994 Józef Sare, in: Polski Słownik Biograficzny, t. XXXV/2, z. 145, Warszawa-Kraków: Polish Academy of Sciences, 189 19. Ostrowska, T. 197 Iwo Łomiński, in: Polski Słownik Biograficzny, t. XVIII/, z. 78, Wrocław-Warszawa-Kraków-Gdańsk: The Ossoliński National Institution, 87 88. Bujańska, J. 1972 Stare srebra, Kraków: Muzeum Narodowe w Krakowie. Sank Gallen 1969 Katalog der Silbersammlung Commendatore Giovanni Züchst im Kirchhoferhaus, Museen der Stadt St. Gallen, Sankt Gallen: Heimatmuseum. Tingström, B. 196 Svensk numismatisk uppslagsbok, Upsala: MC Hirsch AB Vorlag. Licytacja zbiorów 199 Licytacja zbiorów ś. p. bar. Loewenfelda, Paryż-Chrzanów (dwór), Salon Sztuki i Antykwarnia Abe Gutmajera, auctioned on 1 2 and 5 6 June199 [Warszawa]. Przewodnik 1928 Przewodnik po zbiorach Muzeum Przemysłowego im. dra A. Baranieckiego w Krakowie, Kraków: Dr Adrian Baraniecki Industrial Museum in Cracow. R³ Rosenberg, M. 1925 Der Goldschmiede Merkzeichnen, III, Frankfurt am Main: Frankfurter Verlags-Anstalt A.-G. Kruszyński, T. 1922 Zabytki złotnicze w Muzeum Przemysłowym w Krakowie, in: Przemysł, Rzemiosło i Sztuka, Kraków: Dr Adrian Baraniecki City Industrial Museum, 2,1, 28 0. Katalog 1904 Katalog wystawy zabytków metalowych w połączeniu z zabytkami cechów krakowskich otwartej w miesiącu wrześniu 1904 roku przy ul. Wolskiej L. 12 w Krakowie, Kraków: Exhibition Committee.

A COLLECTION OF NUREMBERG GOLDSMITH'S WORK Резиме АЛИЦИЈА КИЛИЈАЊСКА* ДЕЛА НИРНБЕРШКИХ ЗЛАТАРА У КОЛЕКЦИЈИ НАРОДНОГ МУЗЕЈА У КРАКОВУ Колекција дела златара из Нирнберга, представљена у овом раду, која се налази у Одсеку за декоративну уметност и материјалну културу Народног музеја у Кракову, пример је збирке која се лагано развијала током готово читавог XX века. Историја аквизиција предмета и њихов опис омогућавају нам да проценимо стање збирки примењене уметности које се налазе у овом музеју и њихових уметничких квалитета, као и да лоцирамо ове предмете у контексту делâ која репрезентују одређене радионице. Несумњиво највреднији примери сребрнине из Нирнберга јесу они који долазе из некадашњег Музеја кнежева Чарториских, у власништву Фондације кнежева Чарториских, а који се данас чувају у Народном музеју у Кракову. Захваљујући бризи о овој збирци у Музеју, дошло се у посед два дела Конрада Керстнера, са две варијанте печата овог златара. Две посуде које су направљене у радионици Зигмунда Бирфројнда, које потичу из збирке сликара Јана Матејкамз, несумњиво су вредни примери нирнбершког златарства. Међу предметима који се чувају у главној збирци Народног музеја, два до данас сачувана дела јеврејске уметности из радионица Милнера и Геца посебно су вредна пажње, нарочито када се узме у обзир губитак који је ова уметност претрпела током Другог светског рата. Мала предела са представом Страдања Христа, која носи ознаку из раног XVI века, изузетно је дело, без аналогија, и најдрагоценији је пример нирнбершког златарства из колекције овог Музеја. 05 * Алиција Килијањска, историчар уметности, Народни музеј Краков