A pair of Louis XVI ormolu and blue French faïence vases-cloche, the design by Jean Dulac circa 1770, lacking lids

Both lacking earthenware and ormolu lids and internal spring mechanisms. Both bodies with restored breaks, now both with partially reinforced glued cloth on insides; good-quality restorations almost only visible on interior. One arm on each candelabra is fixed and does not bend. Acanthus leaf attachments to tops are later. One lionhead is loose. Ormolu with very minor rubbing, oxidation, and surface dirt.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Retailed by marchands merciers, these ormolu-mounted vases were created in several versions and sold to both a French and international clientele. Originally installed with a spring mechanism, the candelabra’s arms could be pivoted inwards and the whole candelabrum pushed into the body of the vessel where it was held down by a lid, which is now lacking from this pair. When the lid was removed, the candelabrum popped out, thus leading many to describe these pieces as vases à secret.

The original model, delivered to Madame de Pompadour in 1763 and now at the Wadsworth Athenaeum, is signed Dulac Md Rue St Honnore Inveniste and featured an equestrian model of Louis XV in lieu of candelabra. Throughout the 1770s and 1780s, these models remained popular and were delivered to well-known patrons such as Madame du Barry, the Grand Duke Paul of Russia, Prince Baryatinski of Russia, and the King of Poland. The ceramic bodies were produced in cobalt blue and apple-green by the Sèvres factory and were subsequently mounted by enterprising marchands merciers, like Jean Dulac who is credited with inventing or owning the rights to this model. This particular example was most likely produced by a competing marchand mercier who did not have a close relationship with Sèvres and instead used faïence for the body, which differentiates these vases-cloches from other known examples. The lion head mounts are identical and of the same high-quality of those produced by Jean Dulac. Similar examples with Sèvres bodies include one pair in the Huntington Collection, illustrated in Shelley M. Bennett and Carolyn Sargentson, French Art of the Eighteenth Century at The Huntington, 2008, pp. 161-163, cat. 57; one sold Christie’s London, December 2, 1997, lot 40; one sold Christie’s New York, May 18, 2006, lot 776; and one apple-green one sold Christie’s London, July 5, 2012,  lot 23.