The punched intersecting lines on this silver cup are inspired by the Renaissance glass pattern reticello (meaning netlike), in which narrow opaque white glass rods form a fine lattice design with tiny air bubbles at the center of each diamond. In metalwork, the intersecting lines are punched with a light-catching dot. The tall lip indicates that the cup was originally one half of a double cup, like an intact pair in the Museum’s collection, acc. no. 2010.110.68a, b. When displayed, its pair would be placed upside down on top of it like an enormous lid.

Literature
Catalogue of Fine European Silver. Sale cat., Sotheby’s, Geneva, November 10, 1981, p. 67, no. 170.
Judit H. Kolba. Hungarian Silver: The Nicolas M. Salgo Collection. London, 1996, p. 35, no. 13.

References
János Visegrádi. “Egyházi ötvösművek Zemplén vármegyéből.” Múzeumi és könyvtári értesítő 6 (1912), p. 30.
Elemér Kőszeghy. Magyarországi ötvösjegyek a középkortól 1867-ig / Merkzeichen der Goldschmiede Ungarns vom Mittelalter bis 1867. Budapest, 1936, nos. 813 [town mark], 869 [maker’s mark].
A Viennese standing cup with similar decoration was with Galerie Neuse (Silber. Dealer’s cat. Text by Bernhard Heitmann. Bremen, 1994, pp. 18–9, no. 7).

[Wolfram Koeppe 2015]