German, probably Frankfurt, second half 17th century

the silver marked: CB possibly for Caspar Birckenholtz (1633-1690) of Frankfurt

Jacob Stodel, Amsterdam, 1969

Overall the condition of the ivory is good with minor dirt and wear to the surface consistent with age. There is an open stable split running through the sleeve at the same point as the silver handle. The ivory has yellowed throughout. There is some minor stable splitting to the ivory consistent with the material. There is a loss to the ivory underside and stable splitting. There is a small loss to one of the mouldings on the gadrooned lower tier. There is particular variation of colour to the lid, with the upper sections lighter. The silver lid mount is slightly out of place. There is general oxidation to the silver, consistent with the material. There is minor wear to the gilding throughout, particularly to the underside of the base. There are a few losses to the scalloped edge of the lid finial.
"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."

A scene of marine putti riding dolphins and hypocamps and brandishing symbols of victory and triumph envelops this beautifully carved ivory Baroque tankard sleeve. There is a stylistic correspondence with the work of the sculptor Justus Glesker (circa 1610/20-1678) who was active in Frankfurt from 1646. Compare the putti, with their open mouthed expressions, and their hair formed of spaghetti-like stands, with the anguished ivory Magdalen attributed to Glesker in the Victoria and Albert Museum, London (circa 1650; inv. no. A.7-1936). It is unlikely that the present ivory was carved by Glesker himself, but it’s style is a testament to the artistic milieu at the time, and the sleeve was probably carved by a talented sculptor within Glesker’s wake. The secular subject differs from Glesker’s attributed works, but is wholly appropriate for a drinking vessel.

RELATED LITERATURE
H. Trusted, Baroque and Later Ivories, cat. Victoria and Albert Museum, London, 2013, 14-15, no. 9