During the Middle Ages, silversmiths in Nuremberg and other cities were generally prohibited from working in copper gilt in order to protect the lucrative market for precious wares. By imperial privilege, however, the Lindenast family was permitted to use copper, and this finely made vessel is probably from the workshop of Sebastian Lindenast the Elder. It is not marked, as it likely would be if it had been made in silver, but it is stylistically consistent with the work of Nuremberg silversmiths. In addition to its attractive profile and crisply engraved, lively design, the beaker is notable for its well-preserved gilded surface.
Dr. Albert Figdor, Vienna (until d. 1927) ; his posthumous sale, Paul Cassirer at Hotel Esplanade, Berlin (Sept. 29-30, 1930, vol. I, no. 312) ; [ Frederic A. Stern, Brussels and New York (sold October 1946 to Brummer)] ; [ Brummer Gallery, Paris and New York (1946–sold 1949 to Blumka)] ; [ Ruth and Leopold Blumka, New York (1949?–sold 1994)]
Falke, Otto von, and Max J. Friedländer, ed. Die Sammlung Dr. Albert Figdor, Wien. part I, Vol. 1. Vienna: Paul Cassirer Verlag, 1930. no. 312, pl. LXVI.
Gómez-Moreno, Carmen. Medieval Art from Private Collections: A Special Exhibition at The Cloisters, October 30, 1968 through January 5, 1969. New York: The Metropolitan Museum of Art, 1968. no. 120.
Kohlhaussen, Heinrich. Nürnberger Goldschmiedekunst des Mittelalters und der Dürerzeit 1240 bis 1540. Berlin: Deutscher Verlag für Kunstwissenschaft, 1968. no. 350, pp. 294-95, fig. 449, ill. p. 293.
Wixom, William D., ed. Mirror of the Medieval World. New York: The Metropolitan Museum of Art, 1999. no. 261, p. 212.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 106, pp. 145, 198.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. p. 152.