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Among the memorabilia of the old town authorities stored in the collection of the Museum in Tarnów, a special place is occupied by a set of three identical tin jugs. These vessels were created in Gdańsk in 1639, probably in the workshop of the master Assmus Virian.

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Among the memorabilia of the old town authorities stored in the collection of the Museum in Tarnów, a special place is occupied by a set of three identical tin jugs. These vessels were created in Gdańsk in 1639, probably in the workshop of the master Assmus Virian. The fact that these jugs belonged to the council of the city of Tarnów is shown by the relevant Latin inscriptions engraved on each pitcher: GEDINENSI / FACTVM / ANNO DNI / 1639 / PRO CIVIT /ATE / TARNO / VIENSIS (from Latin, meaning: “Made in Gdansk in the Year of the Lord, 1639, for the city of Tarnów”). The inscriptions also inform us that the pitchers were made for the City of Tarnów: CVRA SPECTABILIS / BB DOMINI / CONSVLIS TARNOVIENSIS (from Latin, meaning: “By the efforts of the Glorious Lord BB, councillor of Tarnów”). The initials “BB” refer to the townsman, Baltazar Bujakowicz, multiple-time councillor and mayor of Tarnów, famous for his wealth and generosity, which allows us to conclude that he was the one who financed this purchase. The sum must have been considerable, because, according to the inscription on the pitchers, twelve were purchased, that is, as many as the number of the councillors sitting on the council.
Unfortunately, only four have survived to our times, three of which are in the collection of the Tarnów museum, while the fourth is kept in the Princes Czartoryski Museum in Kraków. Each pitcher measures over 60 cm in height, weighs about 6 kg and has hallmarks confirming the high quality of the product and indicating the use of the highest quality tin (without the addition of lead).
These are vessels with spherical bodies, high feet and necks, decorated with engraved ornamentation in the form of grapes, fruits, flowers, festoons, and birds. Ornamented cartouches with the Leliwa coat of arms and the initials “C[ivitas] T[arnoviensis]” were mounted on the necks (from the Latin, meaning: “city of Tarnów”). This type of slender pitcher was produced, from the 15th century, by tin ware makers in Rhineland, Bavaria, and Mecklenburg for city halls. In paste centuries, pitchers owned by the councillors testified to the wealth of the city and raised its prestige. It seems that these pitchers were primarily symbolic and that their  utilitarian functions were of secondary importance. In 1927, the pitchers were handed over by the city hall to the museum's collections, as one of the most valuable items of memorabilia related to the city's history.

Elaborated by Łukasz Sęk (District Museum in Tarnów), © all rights reserved

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Jeweller’s code

Objects derived from noble metals were usually marked with signs, so-called features. Their appearance on goldsmith’s products, their number and significance were related to regulations issued by craftsmen’s guilds, then also by city and state authorities. These small marks with numbers and symbols in various shapes, which often remind us of cavities, are an extremely valuable source of information about the artwork. It is possible to specify several types of symbols when recognizing their elements and functions.

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Objects derived from noble metals were usually marked with signs, so-called features. Their appearance on goldsmith’s products, their number and significance were related to regulations issued by craftsmen’s guilds, then also by city and state authorities. These small marks with numbers and symbols in various shapes, which often remind us of cavities, are an extremely valuable source of information about the artwork. It is possible to specify several types of symbols when recognizing their elements and functions. However, we should remember that their form has changed over the course of history, differing according to location, which makes things difficult because of their quantity.
The first group of features is formed by the individual marks of particular masters as well as workshops. These could include the full name of the master; however, they often appeared in the forms of the majuscule initials. In this case, there was a risk of repeating the monograms, hence — to make a distinction — they were placed in various fields, sometimes with a very fanciful form. In some cases, the mark of the workshop or the later company was also a house mark (in stonemasonry, the signature of the author in a form of a symbol on the stone’s surface).
However, the most common were hallmarks that indicated the percentage of silver contained in the material used for a given goldsmith product. There were many marking schemes, depending on the time, territory, and ruling power, and they were governed by strict regulations. Thanks to this, however, it is possible to determine the approximate time and place of the creation of the work by properly recognizing the features. Hallmarks began to use digital symbols from approximately the nineteenth century (the unit of weight was Lot, hence the lot system), whereas earlier, the town mark itself indicated that the then applicable amount of silver had been used in the alloy.
Town marks support combining products with specific centres. As a sign, they took the form of the coat of arms of the city (or its fragment), sometimes also the entire name of the city, or its first letter.
To check the quality of the products, the works were also marked in state hallmarking centres, hence their name. The hallmark features, made according to the given pattern, contained information about the silver's purity, and sometimes also the date and the letter of the city. At the end of the 18th century, they appeared on the territories of the former Republic of Poland, initially introduced in the Austrian partition.
Furthermore, the contribution features are an interesting example. They marked works which — according to the Austrian contribution (1806) — had been confiscated, and which were then bought up and given back to the owners. That’s why they could be found even on very old products. Such features primarily had a letter indicating the hallmarking centre of a given territory.
Among many additional markings and types of features (there are also customs or reserve features, hallmarks or pawnbroker’s marks, and even marks indicating the dates); the above-mentioned ones constitute their basis.
It should, first of all, be realized that goldsmith marks are a very functional tool thanks to which we are able to — sometimes even with high accuracy — date the work, determine the place of its creation, its author, and trace its history. The goldsmith features — just like any cipher — have their own codification. Catalogues of marks are the best source to learn how to recognize them; nevertheless, they are still not fully drafted.

Elaborated by Paulina Kluz (Editorial team of Małopolskas Virtual Museums),
Licencja Creative Commons

This work is licensed under a Creative Commons Attribution 3.0 Poland License.

Bibliography:
Michał Gradowski, Dawne złotnictwo: technika i terminologia, Warszawa 1980;
Michał Gradowski, Znaki probiercze na zabytkowych srebrach w Polsce, Warszawa 1988;
Michał Gradowski, Znaki na srebrze: znaki miejskie i państwowe używane na terenie Polski w obecnych jej granicach, Warszawa 1994.

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Pitcher of the City Council of Tarnów

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