A PAIR OF GILT-BRONZE-MOUNTED TURNED AND ENGRAVED IVORY COVERED VASES, THE IVORY BY FRANÇOIS VOISIN, THE BRONZES ATTRIBUTED TO PIERRE-PHILIPPE THOMIRE (1751-1843) LOUIS XVI, circa 1785

each of ovoid form, each cover topped by knop, with pierced necks with interlacing half-circles with pierced bodies with spiral fluting bacchic satyr-head handles linked by garlands of vine leaves and grapes, on square bases; some restorations

Probably made for the French royal family, possibly with the collaboration of a family member
Former Collection of Alphonse de Rothschild (1827-1905), thence by descent to Baron Guy Édouard Alphonse Paul de Rothschild (1909–2007), Hôtel Lambert, Paris, reproduced in figs. 11 & 12.
Sotheby’s Monaco, 25th-26th May 1975, lot 232
Private Collection, Paris

C. Baulez: Notes sur quelques meubles et objets d’art des appartements intérieurs de Louis XVI et de Marie-Antoinette in Versailles, deux siècles d’histoire de l’art (RMN 2007)
J. Zeck: La garniture de cheminée de Marie-Antoinette en ivoire tourné conservée à l’Ermitage in Bulletin de la Société de l’histoire de l’art français (1990)
B. Rondot et al: Marie-Antoinette, Grand Palais, Paris, 15 March-30 June 2008, catalogue p. 185 (n° 127)
D. Kisluk-Grosheide & J. Munger: The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art, New York 2010, pp 140/1 (n° 68)
Y. Hackenbrock: Bronzes, Others Metalwork & Sculpture in the Irwin Untermeyer Collection,1962

The Art of Ivory-Turning: A Tradition in the Manual Education of the French Royal Children:
Extraordinary objects in turned ivory – ingenious and creative tour de force – can be found in European Kunstkammer collections of the 16th and 17th centuries and many European sovereigns took up the craft of ivory-turning themselves.

In France, the pastime became fashionable again in the second half of the 18th century. Louis XV, followed by his daughters, learnt the art of ivory-turning from Jeanne-Madelaine Maubois, the King’s official tourneuse. A clock given by Louis XV to Marie-Antoinette as a wedding gift in 1770 reflects the enthusiasm for this type of manual work, produced by the monarch under his teacher’s direction, reproduced here in fig. 1. It was also a favourite hobby of his daughter Madame Sophie.

The Dauphin (the future Louis XVI) and his brothers, the Comte d’Artois and Comte de Provence, were pupils of Michel Voisin (1729-86), Maître de Tour du Roi, whose son François continued the workshop’s activity after his father’s death. The names Maubois and Voisin appear in Louis XVI’s private accounts in the form of a twice-yearly pension for Mademoiselle Maubois, and payments to Voisin for works and supplies. When Mademoiselle Maubois died in 1777, Michel Voisin acquired her turns with funding from Louis XVI; over the years to come he would give his aunt, Madame Sophie, money to pay for Voisin’s services.

Precious Objects & Curios:

Louis XVI’s taste for this type of object was shared by his aunts. A score of these ivory vases were to be found in the King’s Inner Cabinets at Versailles, while nine ivory vases, with their cages are recorded in Madame Victoire’s Inner Cabinet at the Château de Bellevue in 1786 (Arch. Nat. O1 3379). The Château de Bellevue inventory drawn up in L’An II (1793/4) mentions ‘two openwork ivory vases adorned with gilded bronze masks beneath their cages’ (Arch. Louvre, Z4). Seven vases were offered for sale next year for the sum of 6000 livres. Six others of varied provenance were still in storage at the Château of Versailles in L’An VI (1797/8); five of them were set aside the following year to furnish the headquarters of the Directoire at the Luxembourg Palace. Others, however, disappeared after being auctioned off during the turbulent years of Revolution –such as the ‘two vases in turned ivory adorned with gilded bronze’ acquired by Citizen Favre of Paris in L’An II for 2900 livres. An ivory vase with gilt-bronze mounts, made around 1775, is now in the Louvre (inv. OA7370), reproduced here in fig. 2.

François Voisin, Maître de Tour du Roi & Pierre-Philippe Thomire, Maître Bronzier:

Louis XVI’s private expenditure for 1787 include the sum of 475 livres destined for Thomire and Massé, a goldsmith/jeweller based at the Pont au Change, for ‘works made to an ivory vase ordered by Voisin fils in March 1786.’ Payments made to François Voisin over 1786-88 suggest he was working on various items, to which the King himself very probably contributed as well.

The complex design and incredibly precise execution of our ivory vases, made around 1785, can therefore be attributed to François Voisin; the royal family owned several such vases. This attribution is backed by an album of plates forming the Nouveau cahier de vases, composés par Voisin Fils, maître de Tour du Roi, which highlights a model almost identical to the pair now in the Hermitage (cf J. Zeck & B. Rondot, op. cit.), reproduced here in fig. 3.

As we shall see, all the pairs of gilt-bronze-mounted ivory vases known today are different, yet possess numerous compositional similarities (spiral or straight fluting, precious gilt-bronze ornament) and are assembled in the same way, with such a degree of precision that it is highly probable the same craftsmen were asked to produce these masterpieces in turn. Working ivory is incredibly difficult, as each vase is made from a compact block of ivory that comes from a hollowed tusk, leaving just an openwork structure to form the body of the vase. Such vases can only be the fruit of close collaboration between two crafts–with the precious materials that compose them, ivory and gilt-bronze, alternating and combining harmoniously. The complexity of working ivory, and perfectly adapting the gilt-bronze mounts to the body of the vase, was a task requiring jewel-like precision, often necessitating the skilled intervention of another craftsman, such as the goldsmith Massé mentioned in the King’s accounts.

After training with Gouthière, Pierre-Philippe Thomire (1751-1843) emerged as the period’s up-and-coming bronzier, and caught the eye through his collaboration with Louis Prieur, chaser and gilder to the King. After succeeding Duplessis at the Manufacture de Sèvres, Thomire carried out numerous orders for the Crown; his growing fame soon earned him the reputation as France’s leading bronze specialist. It was, then, perfectly logical that his name should be associated with such meticulous work – demanding exceptional technical skill and artistic creativity. Bills paid by Louis XVI reflect Thomire’s involvement in furnishing the gilt-bronze decoration for such vases; their ornamental features, masks and garlands were part of his repertoire.

Other recorded pairs of Gilt-Bronze-Mounted Ivory Vases:
It is noteworthy that all such vases known today date from the Louis XVI period, and are characterized by immense refinement – reflecting the supreme perfection attained by the decorative arts in the final years of the Ancien Régime:

– Hermitage Museum, St Petersburg (inv. E-4805/4806) – fig. 4.

-from the Chéronnet Sale, Paris 4 December 1840 (lot 330); then Galitsin Collection (Voisin’s corresponding design - fig. 8)

–Palace of Fontainebleau (inv. F620 C)

-from the Collection of General Moreau, described in his residence in 1804 as ‘two vases in ivory garnished with gilding, with two cages in gilded copper, with their glasses’ (Arch. Nat. O2 561m d., 3, p. 1); then moved to Salon de l’Impératrice at Fontainebleau; now in Boudoir of Queen Marie-Antoinette (lacking covers)-figs. 5, 6 & 7.

–Metropolitan Museum, New York (Inv. 41.190.59ab, 60ab) – fig. 8, from the George Blumenthal Collection

–A pair sold at Sotheby’s New York, 20th May 1992 (lot 56) – fig. 9, previously sold at Christie’s London 2nd July 1981 (lot 29); formerly Lord Rothschild Collection, sold at Christie’s 14th May 1970 (lot 14)

– A pair sold at Sotheby’s, New York, 6th November 1982 (lot 14) – fig. 10, from the Irwin Untermeyer Collection; previously Mrs Henry Walter Collection, sold Parke-Bernett, New York, 26th April 1941 (lot 677); previously Countess of Carnarvon Collection, Christie’s London, 19th May 1925 (lot 279); former Alfred de Rothschild Collection

– Former J.P. Morgan & Maurice de Rothschild Collections – not illustrated

 Ivory Vases in the Rothschild Collections:

The collections of the Kings of France and members of the aristocracy began to be dispersed at the end of the 18th century. By the mid-19th century they had become a reference-point for the choice of acquisitions made by various branches of the Rothschild family. This was a golden age for collectors, as they were able to amass extraordinary ensembles with few constraints – the notion of national artistic heritage was almost non-existent, and the resultant lack of export controls made it possible for them to pursue their passion for French 18th century artworks to the full. The accumulation of 18th century masterpieces, combined with a certain idea of modernity, would give rise to the celebrated ‘Rothschild taste’ echoing that of the Kings of France and including a number of their most sought-after objets d’art, presented in a context imbued with contemporary standards of comfort.

Three of the seven pairs of Louis XVI ivory vases with gilt-bronze mounts known today are in important public collections; the other four remain in private hands, and have all passed through the Rothschild Collections at some stage.

In overall good conserved condition. The colour of the ivory is less whiteish and more natural in colour and the gilding is more golden and attractive than in the catalogue photographs, however, thedetail on p. 55, is a good colour match.The quality of the ivory turning and the gilt-bronze is stunning almost jewel-like. Some of the small ivory-tinted-resin elements have been reconstituted.They have been cleaned, traces of old restoration removed as some elements refixed. One of the ribs has a small break-it is an old repair which needs to be refixed and is due to a temperature/humidity change. There seems to be some very minor areas of resoldering of the vine leaf and grape swags.There are small cracks in the bases of both which have discoloured. A professional report by Maison André is available from the department upon request.
"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."

In overall very good conserved condition. The quality iof the ivory turning and the gilt-bronze mounts is stunning.The vases have been cleaned , traces of old restoration removed as some elements refixed. There is an old very minor repair to one of the struts which needs to be fixed again due to a temperature/humidity change.