A cast iron model of the Warwick vase by Karl Friedrich Schinkel (1781-1841) second quarter 19th century

of ovoid form with a lapetted rim above a scrolling band of vine leaves and grapes, the centre with the mask of Hercules addorsed with a bearded male mask  flanked by a thyrsus and a club above a lion pelt flanked by two further bearded masks, the reverse with an addorsed male and female mask flanked by flaming torches and bearded male masks on a trumpet foot and stepped plinth base

Colour of vase less dark, more brownishnatural and attractive than in catalogue photograph. Very good quality casting. Some very minor rubbing to bronze and small areas of rust as visible from catalogue photograph and rusting inside rim. Attractive model in overall good condition.
"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."

Comparative Literature:
Michael Snodin, Karl Friedrich Schinkel A Universal Man, New Haven and London, 1991, p. 188, figs. 134 and 135. 
The celebrated ancient Roman marble vase on which this model is based was discovered in fragments in 1771 in the ruins of Hadrian's villa near Tivoli by the Scottish artist and antiquary, William Hamilton. After restoration, it was sold it to Hamilton's nephew, George, Earl of Warwick and is now in the Burrell collection in Glasgow. For an engraving of the vase, see Snodin, op. cit., p. 188, fig. 134, by Louis Sellier, after Johann Matthãus Mauch (1792-1856).

The Earl of Warwick did not however license copies of the vase until the 1820s. On a tour of England in June 1826, Schinkel recorded his visit to the Birmingham factory of Sir Edward Thomason and saw copies of the Warwick vase.

In 1826, Bergat Krigar took an example of one of these vases to Berlin, where it was modelled in a reduced size by Stilarsky to be cast in iron (Kunstgewerbemuseum, SMB (KGM c. 10) , see Snodin, op. cit., p. 188, fig. 135. A larger iron copy was on the upper landing of the staircase of the museum of Lustgarten. 

The iron version was cast in 1827 and shown at the Berlin Academy exhibition in 1828.  The models were made by the master modeller Stilarsky and shaped and cast by the foreman of the moulding shop Grüttner. They were engraved by the engraver Glantz. The vase was depicted on the foundry's New Year's plaque as an outstanding casting of 1828. Permission was only given to use the model of the Warwick Vase for a copy in silver for the wedding of Prince Karl in May 1827 after an extensive correspondence with the Minister of the Interior demonstrating the importance attached to the piece. The silver vase, with base and lid to designs by Schinkel was also shown at the Academy exhibition of 1836 included two differently sized versions made by the Royal Iron Foundry in Berlin, and the model was also illustrated in the price list of the Prussian foundry in Gleiwitz.