19th century, Small ivory tankard

early nineteenth century

Small ivory mug (tankard)

Carved ivory, silver setting with gold interior, emeralds, rubies and pearl

H. 10,8 cm

The world of nineteenth-century decorative arts often looked to the splendor of the Baroque and Renaissance as an inexhaustible repertoire of wonder, translating their opulence through artifacts of extraordinary technical and executive virtuosity. A sublime example is this small ivory tankard, a showcase and highly collectible piece that condenses an impressive wealth of material and form into a height of just over ten centimeters. The cylindrical body in carved ivory dialogues harmoniously with a sumptuous frame in worked silver, embellished on the inside with warm gilding and decorated on the outside with a profusion of precious gems. Finely set emeralds adorn the profiled base and the tendrils of the handle, while rubies and pearls decorate the domed lid, culminating in a full-length sculptural knob supporting a large baroque pearl, enhancing the object's typically eclectic vocation.

The work stands out for its vivid narrative that envelops the entire cylindrical wall, revealing a crucial episode of classical epic literature taken from the nineteenth book of the Odyssey. It is the moving and tense scene of the washing of Odysseus's feet, having returned to Ithaca disguised as an old beggar. At Penelope's explicit command, the faithful, elderly nurse Eurycleia is tasked with welcoming the unknown guest and washing his feet, a ritual gesture of hospitality that culminates in the moment of secret recognition, when the woman spots a scar on the hero's knee, inflicted in his youth by a wild boar on Mount Parnassus.

The complex relief composition unfolds with narrative continuity and a strong sense of theater. At the center of the narrative, we find not a seated figure, but rather an empty padded stool, the exact seat prepared to welcome the hero. Behind this seat, a standing female figure stands out clearly, likely Queen Penelope or Eurycleia herself, captured overseeing the preparations with a ceremonious and elegant gesture of her hands, almost as if to indicate the space designated for the guest to be honored. In front of the stool, ready to fulfill the royal command, the figure of the servant kneels, her entire body bent toward the basin for the ritual bath. Odysseus stands solemnly, concealed by a thick beard and modest clothing, maintaining a guarded posture to prevent his secret from being revealed prematurely. Supporting figures move alongside him, most notably a young man, identifiable as his son Telemachus, who acts as his father's escort and guardian within his home, now overrun by suitors. The ivory artist organizes the space by skillfully combining high and low relief, defining a trellis-like architectural backdrop and leafy trees that frame the figures, lending spatial depth to such a small surface.

In terms of comparisons and sculptural inspiration, the tankard harks back to the glorious tradition of ivory tankards produced in Augsburg, Nuremberg, and Flemish centers during the 17th century, renowned for their captivating narratives of mythological or sacred themes. The 19th-century carver demonstrates a profound knowledge of these models, infusing the flowing, flowing drapes of the robes and the delicate anatomies of the maids with captivating grace. The metal elements accentuate the connection with the Dionysian and hedonistic universe typical of Baroque ceremonial vessels: the lid knob and the sumptuous scrolled handle are entirely modeled as full-length, leaping satyrs. These mythological creatures, with curled goat legs and expressive faces framed by beards, seem to climb the silver structure, creating a refined thematic and stylistic contrast between the sacredness of the biblical scene carved in ivory and the vibrant pagan licentiousness expressed by the goldsmith's work. The result is a small masterpiece of microsculpture, designed to captivate the close-up gaze of connoisseurs within the most exclusive cabinets of curiosities of the nineteenth century.

The object is in good condition

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E.g. Total €3.600 = Monthly installment €720 for 5 months.

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