1157 - A new museum discovery!

A new museum discovery! Drinking vessel ‘Nef’ Nuremberg c. 1500/20 Copper and silver-bearing copper alloys, fire-gilded and partly silver-plated; some zinc-bearing components Partly cast, partly hammered and chased Height 35.5 cm, length approx. 13.5 cm With later additions, some parts loose, missing sections Provenance: possibly the Albert Figdor Collection, Vienna; subsequently a private collection Materials science report by Emeritus Professor Dr Manfred Schreiner dated September 2026 is available This extraordinary ship-shaped centrepiece offers a remarkable insight into the early table ships of the period around 1500. Its richly figurative composition, the bulbous hull and the combination of a sculpturally designed support with an ornamentally decorated base invite comparison, in particular, with the famous Schlüsselfelder ship in the Germanisches Nationalmuseum in Nuremberg (Inv. No. HG2146). The stylistically suggested early dating of the core makes the piece a particularly interesting artefact from an art-historical perspective. Ship-shaped display and storage vessels, often referred to as ‘Nef’, were part of the prestigious table culture of the late Middle Ages and the Renaissance. Depending on their construction, they were used to hold salt, tableware or wine. Their elaborate design showcased the status and wealth of their owners whilst also providing an opportunity to demonstrate craftsmanship. The Schlüsselfelder ship, created around 1503, illustrates the sophisticated Nuremberg goldsmithing of the period. The largely gilded silver vessel depicts a carrack, a bulbous three-masted ship with raised superstructures at the bow and stern. For the patron, Wilhelm Schlüsselfelder the Elder, who was involved in silver mining and the silver trade, this precious showpiece offered the chance to showcase his economic success. In Nuremberg, a major trading city, the ship’s form could also evoke long-distance trade and the exploration of distant lands. This table centrepiece, too, with its stocky hull, three masts and raised deck superstructure, is reminiscent of a carrack. The rounded plinth features domed panels, between which applied foliage enlivens the surface. Rising from its centre is a female supporting figure with a bare upper body and two fish tails. This two-tailed mermaid, also known as a siren, acts as a link between the plinth and the ship above. As a fantastical sea creature, she establishes a direct connection to the maritime world. Her use as a supporting figure also reflects the preference for unusual, artistically designed supports in European vessel art. A moral or apotropaic significance would likewise be possible. The gilded ship’s hull is divided by horizontal lines that suggest planking or structural straking. This section is connected to the figurative shaft, whilst the upper superstructure can be removed. This detachability is compatible with its use as a drinking vessel or for drinking games. At the bow stands the forecastle, whilst at the stern is the taller, multi-storey-like aft castle. Openwork balustrades surround the raised deck areas and lend the small ship an almost architectural structure. A diagonally rising bowsprit completes the silhouette at the front. Beneath it, a dragon-like creature with an open mouth emerges. As a fantastical figurehead, it enriches the ship’s design with an expressive ornamental element and can be interpreted as a symbol of strength and defenciveness, possibly also carrying a meaning of warding off misfortune. Above the hull unfolds a dense network of masts, yards, sails and rigging. The central mainmast bears a long, slotted flag and a platform known as a crow’s nest or ‘Mars’. A rope ladder leads upwards; a small figure can be seen climbing it. Another figure is already standing on the platform. The two smaller masts complete the three-masted structure. On the aft mast, a figure can be seen with a raised hand and a staff, whilst a small cannon emphasises the fortified nature of the stern. Stowed or furled sails, dangling ropes and small, rounded elements bring the rigging to life. The latter could represent blocks wrapped in rope or other components of the rigging system. Four movable anchors complete the fittings. The small figures on deck, by the ladder and on the mast platforms make the ship appear to be a bustling scene of activity. They illustrate the work on the rigging, the climbing of the masts and the communal organisation on board. At the same time, they enrich the display piece with narrative details and invite closer inspection. An important basis for the technical assessment is the materials science report by Emeritus Professor Dr Manfred Schreiner, dated September 2026. Using non-destructive X-ray fluorescence analysis, the elements present were recorded at a total of 29 measurement points. The analysis identifies different metal compositions and surface treatments, thereby enabling a differentiated examination of the individual components. At the examined points on the ship’s hull, Schreiner identified copper containing gold and mercury (measurement points 1 and 2) and determined these areas to be fire-gilded copper. The plinth section examined above the base also has a similar composition (measurement points 20 and 21). The female figure holding the vessel shows variations in its material composition. Whilst only small amounts of silver were detected at two measurement points (measurement points 3 and 4), another point contains significantly more silver (measurement point 5). Schreiner describes this as a fire-gilded copper-silver alloy. The central section of the ship also contains copper, silver, gold and mercury (measurement point 6). The two flags examined consist of fire-gilded copper and copper with a low silver content respectively (measurement points 9 and 10). A comparatively high silver content was detected in the superstructures, referred to in the report as cabin parts (measurement points 7, 8 and 15). The mast baskets also contain silver. Zinc was additionally detected in two of them (measurement points 11 and 13), whilst the third is described as a fire-gilded copper-silver alloy (measurement point 12). Another component examined also belongs to this material group (measurement point 14). These findings illustrate the structure’s composition of metal parts with varying compositions. The sail, which appears grey, and three of the crew figures examined, on the other hand, are silver-plated (measurement points 16–19). In the case of the sail and two figures, copper forms the base material; the third figure also contains zinc. Sulphurous corrosion products on the silver surfaces explain their current dark appearance. Copper and silver, as well as traces of gold and mercury in places, were detected on the underside of the base (measurement points 22–29). Schreiner compares the silver content there with that of the cabin parts examined. The analysis thus confirms the differentiated use of copper and silver-bearing copper alloys, as well as the combination of fire gilding and silver plating. It complements the stylistic assessment of the hull, the supporting figure and the richly decorated three-masted superstructure. Whilst the proposed dating of the core to around 1500/20 continues to be based on art-historical comparisons, the material findings are consistent with this classification. The similarity to the Schlüsselfeld vessel relates to the vessel’s design concept, the figure-rich superstructure and the ornamentally decorated foot. Thus, the vessel presented here may, for example, have served as a preparatory model and been produced in a workshop associated with that of the Schlüsselfeld vessel. Another point of comparison within the early vessel genre is the Burghley Nef, held at the Victoria and Albert Museum in London (Inv. No. M.60-1959), which was made in Paris around 1527–1528. This vessel, which was used as a salt cellar, is also supported by a mermaid, though it differs in the construction of its base. A collection label inside the hull may indicate that it was formerly owned by Albert Figdor (1843–1927). The Viennese collector amassed an outstanding collection of historical arts and crafts, including furniture, sculptures and metalwork, and maintained contact with leading museum experts of his time. A richly detailed table ship would fit well within this wide-ranging collection. Large parts of his collection were auctioned in Vienna and Berlin in 1930; individual objects remained in the family or were returned to the family through repurchases. This ship could be one such object from the family’s collection. The particular impact of this table centrepiece lies in the combination of a vivid ship’s form with fantastical figurative ornamentation and a multitude of small, partly movable elements. As both a vessel and an animated miniature model, it combines representative and playful qualities. The documented material findings and comparisons with early table ships provide a clear basis for understanding its significance in art history. The table ship thus invites an in-depth examination of early European vessel art, in which maritime imagery, artisanal virtuosity and festive table culture converge.