. . . . . "0.4289"^^ . . . "1730~ / 1750~, Hungary" . "An elegant rhythm is created in this beaker by alternating gilded vertical concave flutes with silver panels containing finely embossed and chased ornament on a matte ground. Georgius Olescher Jr., the maker here, was probably inspired by the work of Michael II May, who spent several years in France becoming familiar with Regence ornaments, returning to Brass\u00F3 by December 1731. Other Transylvanian beakers are similarly decorated, including examples with this typical bell-shaped form. And it was May who produced several such large beakers, all of which are similarly ornamented (Istv\u00E1n Heller. Ungarische und siebenb\u00FCrgische Goldschmiedearbeiten: Vom Ende des 16. Jahrhunderts bis zum Ende des 19. Jahrhunderts. Munich, 2000, pp. 106\u20138, nos. 31 and 32). Some were produced with a lid. The Regence strapwork is an adaptation of French and German silver ornament but was also one of the main patterns featured on porcelain from the influential Viennese DuPaquier manufactory. The number of surviving examples made in Brass\u00F3 indicates that this type of drinking vessel, all partially gilded, was extremely popular in the region (see, for example, Erd\u00E9ly r\u00E9gi m\u0171v\u00E9szeti eml\u00E9keinek ki\u00E1ll\u00EDt\u00E1sa az Iparm\u0171v\u00E9szeti m\u00FAzeumban / Ausstellung alten Kunstgewerbes aus Siebenb\u00FCrgen. Exh. cat. Orsz\u00E1gos Magyar Iparm\u0171v\u00E9szeti M\u00FAzeum. Budapest, 1931, pp. 32\u201333, no. 144, pl. III, and Baroque Splendor: The Art of the Hungarian Goldsmith. Exh. cat. by Istv\u00E1n Fodor et al. Bard Graduate Center for Studies in the Decorative Arts. New York, 1994, p. 129, no. 66, and p. 131, no. 69).LiteratureTiham\u00E9r Gy\u00E1rf\u00E1s. A brassai \u00F6tv\u00F6ss\u00E9g t\u00F6rt\u00E9nete. Brass\u00F3, 1912, pp. 110\u201311, no. 206.Important Silver. Sale cat., Sotheby\u2019s, New York, June 17, 1981, n.p., no. 4.Judit H. Kolba. Hungarian Silver: The Nicolas M. Salgo Collection. London, 1996, p. 80, no. 58.ReferencesElem\u00E9r K\u0151szeghy. Magyarorsz\u00E1gi \u00F6tv\u00F6sjegyek a k\u00F6z\u00E9pkort\u00F3l 1867-ig / Merkzeichen der Goldschmiede Ungarns vom Mittelalter bis 1867. Budapest, 1936, no. 259.Klaus Pechstein. Deutsche Goldschmiedekunst vom 15. bis zum 20. Jahrhundert aus dem Germanischen Nationalmuseum. Exh. cat. Deutsches Goldschmiedehaus Hanau, St\u00E4dtisches Museum Ingolstadt, and Germanisches Nationalmuseum N\u00FCrnberg. Nuremberg and Berlin, 1987, pp. 159\u2013160, no. 72.Judit H. Kolba. Sch\u00E4tze des ungarischen Barock. Exh. cat. Deutsches Goldschmiedehaus Hanau. Hanau, 1991, p. 95, no. 68.Important English, Continental and American Silver and Gold. Sale cat., Christie\u2019s, New York, May 17, 2011, no. 109 (for an octagonal variant).[Wolfram Koeppe 2015]"@en . "0.4318"^^ . . . . . . "1730~ / 1750~, Hungary" . . . "2010.110.56" . "An elegant rhythm is created in this beaker by alternating gilded vertical concave flutes with silver panels containing finely embossed and chased ornament on a matte ground. Georgius Olescher Jr., the maker here, was probably inspired by the work of Michael II May, who spent several years in France becoming familiar with Regence ornaments, returning to Brass\u00F3 by December 1731. Other Transylvanian beakers are similarly decorated, including examples with this typical bell-shaped form. And it was May who produced several such large beakers, all of which are similarly ornamented (Istv\u00E1n Heller. Ungarische und siebenb\u00FCrgische Goldschmiedearbeiten: Vom Ende des 16. Jahrhunderts bis zum Ende des 19. Jahrhunderts. Munich, 2000, pp. 106\u20138, nos. 31 and 32). Some were produced with a lid. The Regence strapwork is an adaptation of French and German silver ornament but was also one of the main patterns featured on porcelain from the influential Viennese DuPaquier manufactory. The number of surviving examples made in Brass\u00F3 indicates that this type of drinking vessel, all partially gilded, was extremely popular in the region (see, for example, Erd\u00E9ly r\u00E9gi m\u0171v\u00E9szeti eml\u00E9keinek ki\u00E1ll\u00EDt\u00E1sa az Iparm\u0171v\u00E9szeti m\u00FAzeumban / Ausstellung alten Kunstgewerbes aus Siebenb\u00FCrgen. Exh. cat. Orsz\u00E1gos Magyar Iparm\u0171v\u00E9szeti M\u00FAzeum. Budapest, 1931, pp. 32\u201333, no. 144, pl. III, and Baroque Splendor: The Art of the Hungarian Goldsmith. Exh. cat. by Istv\u00E1n Fodor et al. Bard Graduate Center for Studies in the Decorative Arts. New York, 1994, p. 129, no. 66, and p. 131, no. 69).LiteratureTiham\u00E9r Gy\u00E1rf\u00E1s. A brassai \u00F6tv\u00F6ss\u00E9g t\u00F6rt\u00E9nete. Brass\u00F3, 1912, pp. 110\u201311, no. 206.Important Silver. Sale cat., Sotheby\u2019s, New York, June 17, 1981, n.p., no. 4.Judit H. Kolba. Hungarian Silver: The Nicolas M. Salgo Collection. London, 1996, p. 80, no. 58.ReferencesElem\u00E9r K\u0151szeghy. Magyarorsz\u00E1gi \u00F6tv\u00F6sjegyek a k\u00F6z\u00E9pkort\u00F3l 1867-ig / Merkzeichen der Goldschmiede Ungarns vom Mittelalter bis 1867. Budapest, 1936, no. 259.Klaus Pechstein. Deutsche Goldschmiedekunst vom 15. bis zum 20. Jahrhundert aus dem Germanischen Nationalmuseum. Exh. cat. Deutsches Goldschmiedehaus Hanau, St\u00E4dtisches Museum Ingolstadt, and Germanisches Nationalmuseum N\u00FCrnberg. Nuremberg and Berlin, 1987, pp. 159\u2013160, no. 72.Judit H. Kolba. Sch\u00E4tze des ungarischen Barock. Exh. cat. Deutsches Goldschmiedehaus Hanau. Hanau, 1991, p. 95, no. 68.Important English, Continental and American Silver and Gold. Sale cat., Christie\u2019s, New York, May 17, 2011, no. 109 (for an octagonal variant).[Wolfram Koeppe 2015]"@en . . . . .