timbale à emblèmes en vermeil par Hans Reiff, Nuremberg, 1609-29

décorée de trois emblèmes et épigrammes en latin et allemand, dans des médaillons en guirlandes de roses alternant avec des fuits et feuilles 

etched with three emblematic images, epigrams in Latin and German, within rose flower surrounds interrupted by fruit and leaf pendants

tiny dents and scratches commensurate with age, general condition excellent, colour good, marks clear, ornament crisp
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cette rare timbale à emblèmes faisait très probablement partie d'un ensemble plus large de timbales empilables, tel l'ensemble de six appartenant au Germanisches Nationalmuseum, inv. HG 11976-82,  par Michael Müller, Nuremberg 1621. Trois autres de la même série que la timbale offerte à présent sont connues: l'une est au Iparmüvészeti museum Budapest, inventoriée par Karin Tebbe et al. Nürnberger Goldschmiedekunst, Nuremberg, 2007, p 332. Une autre fut vendue chez Sotheby's New York, 16 avril 1997, lot 87 et Marc Rosenberg (Der Goldschmiede Merkzeichen) inventorie la troisième sous le numéro 4134u. 

L'origine de l'emblème, allégorie accompagnée d'épigrammes en vers latin sur un ton provocant, trouve sa source chez Andrea Alciato de Milan (1492-1550), célèbre professeur de droit du début de la Renaissance. En 1523, il écrit : "j'ai composé un petit livre d'épigrammes, que j'ai appelés emblèmes: par des épigrammes, je décris quelque chose, d'après l'histoire ou la nature, dont pourraient s'inspirer avec élégance les peintres, orfèvres et autres artisans du métal afin de créer des ornements tels que des médaillons symboliques" Alvan M Bregman, Emblemata:The emblem books of Andrea Alciato, Newton PA, 2007, p. 40. 

Les inscriptions sur cette timbale peuvent être ainsi traduites :

1) A winged globe between God and a rock with Latin inscription: Quo Sors Et Summus Eundem. (Where God and Fate are together)
The German text: Wo Glück nechst Gott dich führen will, / Da folge bald, bsin dich nicht viell.  (Dont hesitate to go where God and Fate intend you to)

2) A donkey wearing a lion's skin: Fictæ Neu Crede Figuræ (Trust not the false)
The German text:  Ein solcher Löw niemandt erschröckt, / Dieweill er Esels ohren trägt. (Such a lion no one fears, because he's wearing donkey's ears) 

 3) A donkey eats the weeds while carrying delicacies on its back back: Huic Par Est Dives Avarus (This is like the rich miser)
The German text: Der Esel tregt speiß gneüst sie nicht, / Reichen, so karg, [a]dles gebricht (delices for luncheon could lighten its load, instead this beast will munch on weeds in the road )

 

This rare emblem beaker would have been part of a group stacking together, such as a set of six in the Germanisches Nationalmuseum, inv. HG 11976-82,  by Michael Müller, Nuremberg 1621. Three others from the same series as the present beaker are recorded: An example in the Iparmüvészeti museum Budapest, listed by Karin Tebbe et al. Nürnberger Goldschmiedekunst, Nuremberg, 2007, p 332. Another was sold sothebys New York, 16th April, 1997, lot 87 and Marc Rosenberg (Der Goldschmiede Merkzeichen) records the third  under no. 4134u.
The emblem, illusive and thought-provoking verse epigrams in Latin accompanied by images, originated with Andrea Alciato of Milan (1492-1550) , the most famous professor of law of the early Renaissance. In 1523 he wrote `I composed a little book of epigrams, which I entitled emblems: in separate epigrams i describe something which, from history or from nature, signifies elegantly...after which painters, goldsmiths and metal workers could fashion the kind of thing we call badges...'. Alvan M Bregman, Emblemata:The emblem books of Andrea Alciato, Newton PA, 2007, p. 40

The inscriptions on the beaker with rough tranlations are as follows:  

1) A winged globe between God and a rock with Latin inscription: Quo Sors Et Summus Eundem. (Where God and Fate are together)
The German text: Wo Glück nechst Gott dich führen will, / Da folge bald, bsin dich nicht viell.  (Dont hesitate to go where God and Fate intend you to)

2) A donkey wearing a lion's skin: Fictæ Neu Crede Figuræ (Trust not the false)
The German text:  Ein solcher Löw niemandt erschröckt, / Dieweill er Esels ohren trägt. (Such a lion no one fears, because he's wearing donkey's ears) 

 3) A donkey eats the weeds while carrying delicacies on its back back: Huic Par Est Dives Avarus (This is like the rich miser)
The German text: Der Esel tregt speiß gneüst sie nicht, / Reichen, so karg, [a]dles gebricht (delices for luncheon could lighten its load, instead this beast will munch on weeds in the road )