Attributed to Johann Georg Kern (1622-1698) German, Koblenz, second half 17th century and later

with seated putti on the lid, the mounts marked thrice, on the cover, body and foot, for Adolf Zethelius, Stockholm, 1816

Christie's London, 17 December 1986, lot 79

Exhibition of Italian Art (documented in the 1986 Christie's cataloguing)

The sleeve has two splits with remnants of an old restoration on the side opposite the handle. The ivory on the lid has a split to the right of the sheep and a fissure across the putto with the bird, both with old restorations. There are a few minor losses to the ivory, including the attribute in the proper left hand of the putti seated on fruit and the toes of the maiden to the right of the split. The toes of the maiden to the right of the handle are reattached. There are a few minor chips to the edges of the ivory, including just under the kissing putti. Otherwise there is some wear and dirt to the crevices and the overall condition of the ivory is stable. There is some wear and dirt to the silver consistent with age including tarnishing throughout.
"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."

The elegant classicising frieze, which wraps around the present tankard, has the same composition as one found on a tankard in the Grünes Gewölbe in Dresden, which dates to 1661 and has been attributed to Johann Georg Kern (inv. no. II 399). Both sleeves portray the Parable of the Wise and Foolish Virgins from the Gospel of Matthew 25:1-13. The parable, which is an allegory for the Last Day of Judgement, tells of ten maidens who are given the honour of waiting to greet a bridegroom prior to his marriage feast. As the event takes place at night, they each hold lamps to welcome their visitor. The five wise virgins take the precaution of bringing additional oil in case the bridegroom arrives late, but the five foolish virgins are unprepared. When it becomes clear that they face a long wait, the foolish virgins go in search of oil, but are still absent when the bridegroom finally arrives and so are excluded from the feast.

Johann Georg's idealised nudes show the influence of the work of his uncle, the celebrated ivory carver Leonhard Kern (1588-1662). Compare, for example, the women in the present frieze with the three graces in Leonhard's stone relief in the Museum für Kunst und Gewerbe, Hamburg (Möller, op. cit., p. 75, fig. 2). It is due to the conceptual similarity with Leonhard's work that the Dresden sleeve has been attributed to the elder Kern in the past, though this theory is today considered unlikely (Möller, op. cit.p. 76). The present sleeve is particularly refined, notably in the superb carving in the hair, the subtle, swirling, drapery, and the flickering flames in the lamps. The virtuoso quality of the carving and the similarity with the Dresden example, provide a strong case for the present sleeve having also been carved by Johann Georg Kern.

RELATED LITERATURE
R. Berliner, Die Bildwerke des Bayerischen Nationalmuseums. IV. Die Bildwerke in Elfenbein, Kochen, Hirsch-und Steinbockhorn, exh. cat. Bayerischen Nationalmuseums, Munich, 1926, pp. 55 and 113, no. 194; L.L. Möller, 'Trinkgeschirre von Johann Georg Kern and Johann Jacob Betzoldt', Leonhard Kern (1588-1662). Meisterwerke der Bildhauerei für die Kunstkammern Europas, exh. cat. Hällisch-Fränkisches Museum, Schwäbisch-Hall, 1988, p. 77, fig. 5