The central finely carved sleeve, in medium to high relief depicts the Triumph of Bacchus & Ariadne, who are seated in a chariot being drawn by leopards. Bacchus holds his fertility symbol, the thyrsus, within a processional of his followers, celebrating their rites with much revelry. Satyrs blow their pipes or are entwined with snakes and both the cover and base are carved with winged putti in various pursuits, such as playing music, reading or writing.

This cup and cover was made in the town of Geishngen, which along with Dieppe, Erbach and Michelstadt, was an important ivory carving center during the 19th century. It is a rare example that is fully signed identifying its maker and origin. For a full discussion on the work of Geislingen ivories, see Hartmann, op. cit. pp. 239-241, who also provides biographies of the Kauzmann brothers, one of whom exhibited his wares at the Kunstgewerbeausteilung in the Kunstgewerbemuseum in Dresden in 1892.

Clearly inspired by the "pokals" of the 16th and 17th centuries, this cup and cover is a prime example of "historismus" taste that pervaded Europe, England and America from 1830 to 1900.

Objects produced during the Renaissance and Baroque periods served as great sources of inspiration for all areas of the decorative arts. The "shatzkammer" or "treasury" objects collected by the Royal families of centuries past, particularly in Germany and Austria, were both copied and re-interpreted in various ways to satisfy a growing bourgeois clientele intent on surrounding themselves with impressive objects. With its crisp carving and large size, this cup and cover is of exhibition quality and may very well have been shown at one of the major international world fairs.

RELATED LITERATURE;

Ivory, An International History and Illustrated Survey, Harry Abrams Inc.

publishers, New York, 1987.

Richard H. Randall, Jr., Masterpieces of Ivory from the Walters Art Gallery,

Hudson Hills Press, 1985.

P.W. Hartmann, Elfenbeinkunst, 1998-1999.