16TH CENTURY SILVER NÜRNBERG THIMBLES

Johann Christoph Weigel was a German copper engraver, art dealer and publisher. He was born in Bohemia in 1654 and died in Nürnberg some 70 years later. He was usually known as Christoph Weigel the Elder. In 1698 he wrote "Abbildung Der Gemein-Nützlichen Haupt-Stände Von denen Regenten Und ihren So in Friedens- als Kriegs-Zeiten zugeordneten Bedienten an, biß auf alle Künstler Und Handwercker" (reference 1). (Illustrations of common utilitarian occupations of the Regent and his servants in both peace and in wartime including all the artists and hand workers). This book was one of his most important works. It was published in Regensburg and in it he described more than 200 artisans and craft workers whom he had observed personally in their workshops and other workplaces. Each description was accompanied by an engraving of the activity (Fig 1).

(Fig 1) Thimble makers in a 1698 book of engravings by Johann Christoph Weigel

Weigel described the thimble makers in Nürnberg who were classified with the other brass workers having been granted independence from the coppersmiths in 1531. In his section on 'Fingerhuters' (thimble makers), Weigel wrote:

"There are also double thimbles with the inner part being completely smooth and gilded, and the outer part which fits snugly over the inner part is made of silver and worked in filigree which looks very attractive. They often decorate the lower edge of the thimble by engraving garlands, foliage, animals and the like, in which type of work the craftsmen of Nürnberg remained the leaders because foreigners seldom engage in it " (reference 2).

Weigel also described thimbles with 'star hats' which may refer to the star dimpling found on the tops of the filigree thimbles (Fig 2 bottom).

According to Weigel, Heinrich Leisen was the first thimble maker to become a master around the end of the 15th century.

The earliest complete silver Nürnberg thimble known to us © Metropolitan Museum of Art, NY.

(Fig 2) Thimble with 'star hats'

Clearly Weigel's descriptions could have been applied to the two thimbles shown in Fig 2. The top thimble is the earliest complete silver Nürnberg thimble known to us and is held in the Metropolitan Museum of Arts collection in New York. It has a removable top under which is a glass, under painted (verre eglomisee) with an alliance crest, it is dated 1577, has an unknown makers mark (arrow) and is inscribed, around the rim, in Plattdeutsch, 'Zier (?) leib unnde mich mer ist beidte ir err. 1577' (If you adorn your body and me, we are both honored). Above the inscription are punched wild animals running in a wood. The top of the thimble is hand dimpled and the lower portion is gilded. There is only one other complete thimble of this kind known to us. It is in the Kestner Museum in Hanover (Fig 3). It has a hand dimpled top, a floral border and under the crystal in the top are some flowers and the letters 'VGMN' (vergiss mein nicht - forget me not). Above and below the floral rim is the inscription 'der . erbarn . und . tugentsamen . frauen verzierung hellena . Paerin . zu einem. s.n.iahr' 1595. (The honorable and pure women's adornment Hellena Paerin to a s.n .year). The bottom piece is gilded. There is an unknown maker's mark.

(Fig 3) Thimble in the Kestner Museum in Hanover

The earliest incomplete silver double thimble we know of is in the Germanisches Nationalmuseum in Nürnberg and is dated 1573 (Fig 4). It is cast, with a punched decoration of figures and circles and gilded. On the top is a crystal which is under painted with a gold shield and three forget me not flowers, VMN' (vergiss mein nicht - forget me not) and it is backed by a red foil.

(Fig 4) The earliest incomplete silver double thimble dated 1573 in the Germanisches Nationalmuseum in Nürnberg

We found a further incomplete example of this type of thimble in the Kunstgewerbe Museum in Berlin (Fig 5). It too is missing the top, the side is decorated in a way similar to the brass thimbles of the time but below the decoration is an inscription 'IVNKFRAW IVSTINA VON HERTEN' (Virgin Justina von Herten). Under the crystal is a shield with flowers, the date 1606 and 'VGMN'.

(Fig 5) Thimble in the Kunstgewerbe Museum in Berlin

We know of a further similar thimble in a private collection (Fig 6). It is also missing the top. It has a crystal (cracked and damaged) engraved with three forget me not flowers, in the form of a seal, over a coat of arms with three forget me not flowers, below 'VMN' and is backed by a red foil. The top is dated 1580. It has a geometric border and a flat rim with 'was . got . bescherdt . imer . werdt . ist 1579'. (what God gives is always valuable).

(Fig 6) Thimble dated 1580 in a private collection

Dr Albert Figdor had a further four of these double Nürnberg silver thimbles in his collection (Fig 7) but we have no idea where they are now - they may have been auctioned although we did not find them in the auction catalogue for the goldsmith's items in his collection, or they could be in a museum somewhere. Three of the four double thimbles had 'mottos' around the rim - 'Bin ich euch feint, so strew ich heint 1580' (no translation), 'Herzlich Liebe scheid sich nie 1582' (true love will never part) and 'Allein mein oder las gar sein' (be mine alone or let it be). Only one was complete.

(Fig 7) Thimbles formerly in the collection of Dr Albert Figdor

Interestingly we have found two brass thimbles of this type. One is in the Kunstgewerbe Museum in Berlin (Fig 8) and the other is in a private collection but it is missing the top (Fig 9). The former has a less intricate decoration than the silver thimbles of the same type and comprises a series of oval wheels. The top is hand dimpled. It is inscribed 'Glick und Liebe stielt mir kein dieb 1599" (happiness and affection no thief can steal from me).

(Fig 8) Brass thimble in the Kunstgewerbe Museum in Berlin

The thimble in the private collection has a very faded picture but an engraved 'E' can still be seen on top of the crystal. There is an unknown maker's mark.

(Fig 9) Brass thimble in a private collection

It is thought that this thimble may predate the silver thimbles, it is undated and the design is simpler than that on the silver thimbles and resembles closely designs found on other deep drawn brass thimbles. There is an unknown maker's mark.

By the end of the 16th century silver thimbles were regarded as fashion pieces, keepsakes with mottos, and were most common according to Rohde because they were more carefully kept than other thimbles (reference 3). They were very expensive. Below the caps was more evidence that they were gifts between lovers. In all Nürnberg double silver thimbles there was a crystal or glass, on the top of the lower part, which was often cut to form a seal, below which was a colored foil, often red or silver, a crest or two and 'VMN' or 'VGMN'. Sometimes there was a date. Rhode (reference 3) thinks that it is unlikely that the double thimbles were made by the thimblemakers in Nürnberg but rather by the goldsmiths although he adds that the caps may have been made by the thimblemakers. All of the techniques necessary for the production of these thimbles were practiced by goldsmiths - casting, gilding, enameling, engraving, and soldering.

The second thimble described by Weigel (Fig 2 right, Fig 11) was probably made a little later than the ones described above. It has a mechanically indented top which reveals a pair of under painted conjoined crests, one with the letters IHS (Jesus), and the letters 'VGMN' which is protected by a crystal cover and backed by red foil. The lower portion is 'gilded', has an 'H' punch mark in a parallelogram slanting to the left and is enclosed within an enameled, filigree, removable sleeve. The re-stamp mark was used in Graz between 1806 and 1807 for small gold items to signify the payment of a special tax. The significance of the presence of this mark is not really known. Clearly the thimble was made before 1807, but was it then made around this time in Austria and therefore not a Nürnberg thimble, or was it in a collection in Austria, made much earlier in Nürnberg, and then had the tax paid later? The double Nürnberg silver thimbles had gilded silver bases but this base was assayed as gold, did the assayers make a mistake with the gilding or is the base really gold? We think that it is most likely that the thimble was made in Nürnberg and that there was a mistake with the assay. It seems to be highly improbable that a lone goldsmith in Austria would have the machinery for star dimpling the top cap or the skills necessary for the under painting of the top crystal.

Four complete thimbles of this type are known to us - all of the other known examples are either missing a top or the filigree band. One of these thimbles was illustrated in an edition of Connaissance des Arts in 1956 (Fig 10). 'Les trois cents dés du Baron Seillière' (reference 4) described many of the rare thimbles collected by Baron Seillière and the Baron speculates that possibly poison or perfume may have been kept under the removable cap in the late 17th century. Many of the Baron's thimbles were auctioned in Geneva in 1975.

(Fig 10) Thimble formerly in the collection of Baron Seillière

A second thimble is illustrated by Dreesmann in her book (reference 5). She describes having purchased the thimble from a dealer in London who had obtained it from an estate in Vienna thus explaining the Austrian tax mark. Dreesmann further describes finding that she could remove the top of her thimble and finding 'a lovely plain gilt thimble with the maker's initial, the top a beautiful miniature painting of two joined coats of arms under glass' (Fig 11).

(Fig 11) Thimble illustrated in Dreesmann book

As well as this filigree thimble, two other similar complete thimbles are known. One is in the Victoria and Albert Museum in London (Fig 12). It was accessioned in 1923 as German 17th century, the top may have been replaced prior to accession and also the enamel on the filigree sleeve may have been repaired. The under painted (reverse painted) picture may be a crest or coat of arms with three rings of gold leaf applied to the undersurface of the glass. The glass is damaged. There is no maker's mark. In 1998 it was reassessed for a new silver display and described as 'Vienna, second half of the 19th century'. We believe the original description to have been the correct one.

(Fig 12) Thimble in the Victoria and Albert Museum in London © Victoria and Albert Museum, London

The other thimble was auctioned by Christie's in 1998 (Fig 13 left) - 'a silver gilt thimble, with plain body and applied rope-work rim, the tip with applied glazed compartment, with an outer detachable part enameled scrollwork filigree sleeve, the tip with lift off cover, Central European, late sixteenth century' (reference 3). A similar, but topless, filigree thimble was auctioned by Christie's in 1997 (Fig 13 right) - 'a silver gilt thimble, with plain body and chased rim, the tip inset with a glazed enameled study of a couple, with an outer detachable part-enameled scrollwork filigree sleeve, cap deficient, Central European, late sixteenth century' (reference 3).

(Fig 13) Thimble auctioned by Christie's in 1998 - © Christie's

Five more of these thimbles, without filigree sleeves, are known to be in private collections.

Nothing is known about one of these thimbles. The second one, is missing the filigree sleeve, the top is machine dimpled and the picture is no longer clearly visible (Fig 14). The third thimble is very similar but there are two faded portraits to be seen under the crystal (Fig 15). The fourth thimble has a tiny portrait of a young woman protected by the crystal. The fifth thimble (Fig 16) was in the collection of Dr Albert Figdor. It, in contrast to all the other known thimbles of this type, had an inscription above the filigree sleeve - 'Qui de coer aime, de bon coer donne' (He who loves gives willingly) and 'E.I.'. On the top of the thimble under the glass was a coat of arms with a fleur de lys, half black and half gold, stamped with a helmet. The cap was missing. The whereabouts of this thimble now is unknown.

(Fig 14) Thimble in private collection missing the filigree sleeve

 

(Fig 15) Thimble showing two faded portraits under the crystal

 

(Fig 16) Thimble in the collection of Dr Albert Figdor

What is the evidence for the manufacture of the thimbles in Nürnberg? Firstly, Nürnberg was the only city in Europe, at the time, with craftsmen able to make such items. Thimble manufacturing in Nürnberg was protected and neither masters nor journeymen were allowed to leave the city. Thimble production outside of Nürnberg really was only established in the 18th century so these silver thimbles could not realistically have been made anywhere else. Secondly, a gradual evolution in form and construction of the Nürnberg thimble is easily seen from the crude cast bronze thimble to the deep drawn, tall brass thimble, to tall brass thimbles with a detachable top which were then made in silver and finally given an enameled filigree sleeve (Fig 17).

(Fig 17) Evolution in form and construction of the Nürnberg thimbles © Trustees of the British Museum, Portable Antiquities Scheme (sixth from left)

Similar tall decorated thimbles may be seen on the bronze epitaphs of some of the Nürnberg thimble maker's graves (reference 8) (Fig 18).

(Fig 18) Thimbles on Nürnberg thimble maker's grave

The form of the tall silver thimbles is very similar to the form of a gilded silver goblet known to have been made in Nürnberg in 1586 by Elias Lenker (Fig 19). It was made for the Tailors Guild of Nürnberg, is in the form of a thimble and has a detachable base. This would seem to suggest that the style is one that was common in Nürnberg at the time.

(Fig 19) Silver goblet known to have been made in Nürnberg in 1586 by Elias Lenker

How are the thimbles dated? Most of the thimbles, with the exception of the filigree thimbles have dates either on the band or on their tops (Fig 20).

(Fig 20) Date on a thimble

The filigree thimbles are so similar to the dated thimbles that they form a natural progression and it seems to be most unlikely that there would have been a long gap in time between the two types. The filigree thimbles seem to have machine dimpled tops, a technique which was available at the end of the 16th c in Nürnberg. Although not allowed to be used by thimble makers at the time in order not to give unfair advantage to the richer thimble makers who could afford the machinery, it was possibly used by goldsmiths.

Why are these thimbles so rare? Not many were made, they were probably too expensive for most people, they may be 'lost' in museum collections, rich houses, and in unknown private collections (medieval collectors, silver collectors, thimble collectors, seal collectors). They were most likely 'made to order'.

Despite the many accounts of the early Nürnberg thimble makers that have appeared over the years which, incidentally, are all based on Weigel (reference 9, 10, 11, 12, 4) little seems to have been added to our knowledge of the Nürnberg thimblemakers or their work with the exception of Rhode (reference 3).

The double silver Nürnberg thimbles are not written about now at all, but a filigree sleeved thimble was described, probably by Mary Morris writing in the 'Girls Own Paper', in 1886-87(reference 13). She wrote 'The thimble is silver-gilt, covered with open work scrolls, filled in with enamel. It belongs to the 18th century'. A further description of a double thimble appeared in the 'Sydney Mail' of 5th February 1887 (reference 14) . 'It was wrought in gold or silver, and a scene from mythology was with minute accuracy engraved upon it. The rounded top was made separately, a Cupid or other deity forming the centre, round which was the inscription, in French and Latin, "'Force d'Amor, Vis Amoris,'" was delicately wrought. Sometimes the top of the thimble (thumb-bell) was ornamented with a kind of hollow lid, filled with balsam or other perfume and only the most primitive thimbles were open at the top like thimbles used by tailors at the present time'. This report was attributed to the 'Pall Mall Gazette '. It seems probable that these writings, too, were based on Weigel.

What was the fate of these thimbles? In the late 16th and early 17th century, thimble making in Nürnberg was at a zenith and these capped or double thimbles probably represent the highest level of craftsmanship and metalworking skills, in relation to thimble making, ever to be demonstrated in Nürnberg. As time passed other towns, especially those in Holland, began to develop their thimble making skills. By the middle of the 18th century mechanized thimble production became a reality in Holland and thimble making in Nürnberg began to decline.

Acknowledgement

We would like to thank Mr. Richard Edgcumbe, at the Victoria and Albert Museum for his help in supplying information and the pictures of the sleeved thimble in the museum's collection. We also thank Dr.Wolfram Koeppe, Marina Kellen French Curator, Department of European Sculpture and Decorative Arts, the Metropolitan Museum of Art who was kind enough to provide information and a picture of the thimble in the MMA's collection.

We also thank Carolyn Meacham for permission to use her images in Fig 11 (bottom two) and Wolf-Dieter Scholz for helping with the old documents and correcting the errors in the text.

References
 

1. Abbildung Der Gemein-Nützlichen Haupt-Stände Von denen Regenten Und ihren So in Friedens- als Kriegs-Zeiten zugeordneten Bedienten an, biß auf alle Künstler Und Handwercker. Regenspurg 1698, Online- http://polona.pl/item/5308244/287/

2. Weigel C. Abbildung der Gemein-Nützlichen Haupt-Stände. Regensburg, 1698. cited by Holmes EF. A history of thimbles. London: Cornwall Books, 1985.

3. Rhode N. Von Fingerhut und seiner Vergangenheit. Die Uhrmacherkunst, 1925; 1: 19.

4. Guth P. Les Trois Cents Dés du Baron Seillière. Connaissance des Arts, March 1956, 44. cited by Blakeslee Black A. Of Meissen Thimbles. Thimble Collectors International, 2000.

5. Dreesmann C. A thimble full.... Utrecht/Netherlands: Cambium, 1983; pp.70.

6. Christie's. Thimbles and Needlework Accessories. Lot 29. 9.12.1998.

7. Christie's. Thimbles and Needlework Accessories. Lot 153. 16.12.1997.

8. Isbister M, Isbister W. Die Fingerhut-Gräber in Nürnberg. Rund um den Fingerhut, 2013: 56: 4.

9. P Abraham à S. Clara. Etwas für Alle. Würzburg: MF Hertz, 1711.

10. Krünitz JG. Oekonomisch-technologische Encyklopädie, oder allgemeines System der Staats- Stadt- Haus- und Landwirthschaft, wie auch der Erdbeschreibung, Kunst- und Naturgeschichte. Berlin: J Pauli, 1773-1858.

11. Wagner M. Handwerk um 1700. Holländische und deutsche Kupferstiche mit Beschreibungen von Christoph Weigel und Betrachtungen von Abraham a Sancta Clara. Hürtgenwald: Guido Pressler Verlag, 1985.

12. Rapp A. Fingerhut, Reallexikon zur Deutschen Kunstgeschicate, Band VLLL, München: Beck, 1987.

13. Morris M. The Thimble and Thimble-makers. The Girls Own Paper, 1887; 390: June 18.

14. Pall Mall Gazette*. Thimbles Old and New. The Sydney Mail, 1887 (Feb 5):XLIII (1387): 289.

(* "Thumb-Bells" ancient and modern. Pall Mall Gazette, 1886 (Nov 21); 13.)

Makers' marks

It is now generally impossible to attribute a maker with a mark because on the 2nd of January, 1945, 514 Lancaster bombers destroyed the 'castle, the Rathaus, almost all the churches and about 2000 preserved medieval houses' in what was described as 'a near-perfect example of area bombing' at the time. Included in the devastation were many of the city's old documents including all the records of individual Nürnberg thimble maker's marks.