Goblet

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The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Goblet
Place Made: 
Accession Number: 
79.3.193
Dimensions: 
Overall H: 19.7 cm; Rim Diam: 13.3 cm; Foot Diam: 13.4 cm
Location: 
Not on Display
Date: 
possibly 1480-1490
Credit Line: 
Bequest of Jerome Strauss
Web Description: 
The coat of arms has largely been worn away. Its once elaborate gilding indicates that the owner of this goblet came from a noble family in southern Germany.
Department: 
Provenance: 
Strauss, Jerome (1893-1978), Source
Rothschild, Baron L., Former Collection
Bondy, Oscar, Former Collection
Category: 
Primary Description: 
Armorial Goblet. Translucent dark blue. Blown, mold-blown; tooled, enameled, gilded. Goblet. Flat based, bell shaped bowl with pincered frill projecting at angle of base. Slightly sagging base is set directly on top of mold-blown (21 ribs) stem with wide bulge that has two progressively narrower bulges above it, and one below; joined by glue-bit to mold-blown (16 ribs) pedestal foot strengthened, at edge, by flattened ribbon of blue glass applied on upper surface. Pontil mark within apex of foot. Knop, foot, and bowl were gilded at furnace; gold on foot was split by subsequent working to give “sprinkled” effect. Main decoration of bowl consists of two identical coats of arms on round shields, now badly worn: quarterly, 1 and 4 show two addorsed horses’ heads on plinths, or, counterchanged (horse in 4 is counterchanged opposite way from horse in 1), 2 and 3 display eagle partly covered with thin white enamel. Shields appear to be suspended from white and brownish red ribbons. Between them, San Bernardino (wavy) rays, alternately in white and red, rise from lower border, with red rays on localized gold ground. Above them are slender stalks with foliage of white and red horizontal strokes on thin gold stems that ascend between rays. Below rim is border of dotted rosettes on gold ground, with red centers alternating with green, and with “petals” in white. These rosettes run horizontally between single fillets of white dots above and red dots on gold lappets below. Above base is border of single red dots on gold ground, between fillet of single white dots above and groups of three white dots below. Before frill was pinched, it was covered with gold leaf decorated with dots of white enamel. Gilding below rim seems to have been stretched by tooling during firing of enamel. Some of white enameling has been smeared counterclockwise on frieze below rim.
Renaissance Venice: Life and Luxury at the Crossroads
Venue(s)
Gardiner Museum 2021-10-14 through 2022-01-09
Renaissance Venice was a multicultural metropolis where migration and mobility shaped the daily lives of its inhabitants. Its position at the crossroads of trade routes linking Europe to the Islamic World brought a continuous flow of commodities like pigments, spices, and luxury objects. In the homes of Venetians, these imported goods complemented locally-made products like maiolica, or tin-glazed earthenware. Renaissance Venice: Life and Luxury at the Crossroads recreates a sensory world of objects, foregrounding visual conversations across cultures as well as artisan trades as they took shape through the manipulation of materials, form, colour, and ornament. Featuring works ranging from Chinese porcelain and Islamic metalware to Venetian textiles and glass, this exhibition explores how objects connected cultures and geographies during the Renaissance. It questions the role of objects and images in stimulating significant forms of encounter, and more specifically, the role of ceramics in encapsulating cultural exchanges and intersections. This dynamic web of relationships forms the backdrop for the story of Venice’s maiolica industry as it developed throughout the 1500s. Key to its success was the influx of migrant artisans from other parts of the Italian peninsula, privileged access to materials, and vibrant market demand. At the forefront are the lived experiences of people across the social spectrum, from the makers of objects to the wealthy elites. Visitors are invited to step into the workshop of the potter-entrepreneur and engage in a counter-narrative that seeks to recover the experiences of Renaissance women from different walks of life. A global city in constant movement, Renaissance Venice parallels our own lives in many ways. Works by contemporary artists Lindsay Montgomery, Dorie Millerson, and Nadia Myre expand upon the connections between the present and the legacies of the past. Each brings a feminist critique that focuses, respectively, on story-telling traditions, domestic labour and exploitation, and Venice’s symbolic connection to the Americas and Indigenous Peoples through printed publications. Renaissance Venice: Life and Luxury at the Crossroads features over 110 objects including ceramic, glass, metalware, printed books, lace, velvets, carpets, painting, and prints. Participating lenders include the Victoria and Albert Museum, the Metropolitan Museum of Art, The Detroit Institute of Arts, The Corning Museum of Glass, The Royal Ontario Museum, the Aga Khan Museum, the Art Gallery of Ontario, and the Bata Shoe Museum. The exhibition is accompanied by catalogue published by Hirmer Art Publishers.
Venue(s)
Corning Museum of Glass 2004-05-13 through 2004-10-17
 
The Techniques of Renaissance Venetian Glassworking (2016) illustrated, Fig. 45; BIB# 149619
Mille Anni di Arte del Vetro a Venezia (1982) p. 21; p. 79, #67;
Important Acquisitions from the Strauss Collection (1980) illustrated, p. 105, #15; BIB# AI9181
Three Great Centuries of Venetian Glass (1958) pp. 38-39, no. 16; BIB# 63296