These ewers long have been thought to be the pair mentioned in the 1526 and 1585 inventories of the Order of the Teutonic Knights, which were emblazoned with the arms of Hartmann von Stockheim, the German grand master of the order between 1499 and 1510 or 1513. Both works shown here are unmarked, and the attribution to Nuremberg is based on stylistic comparisons. For instance, the small cast figures against the buttresses are similar to examples by the Nuremberg goldsmith Sebastian Lindenast the Elder. The enameled and painted wild men are heraldic supporters but also can be understood as symbols of virility and procreation.
The Teutonic Knights, Vienna (sold 1937) ; [ Saemy Rosenberg, Amsterdam (in 1937)] ; Baroness Catalina von Pannwitz, Amsterdam ; [ Rosenberg & Stiebel, New York (sold 1953)]
Los Angeles County Museum of Art. "The Middle Ages: Treasures from The Cloisters and The Metropolitan Museum of Art," January 18, 1970–March 29, 1970.
Chicago. Art Institute of Chicago. "The Middle Ages: Treasures from The Cloisters and The Metropolitan Museum of Art," May 16, 1970–July 5, 1970.
New York. The Cloisters Museum & Gardens. "The Secular Spirit: Life and Art at the End of the Middle Ages," March 28, 1975–June 15, 1975.
New York. The Metropolitan Museum of Art. "Gothic and Renaissance art in Nuremberg, 1350–1550," April 8, 1986–June 22, 1986.
Nuremberg, Germany. Germanisches Nationalmuseum. "Gothic and Renaissance art in Nuremberg, 1350–1550," July 24, 1986–September 28, 1986.