A silvered and gilded blue glass vase, Probably Potemkin Glassworks, circa 1780

decorated to each side with images of peasants, the bulbous lower body and foot with foliate and Greek-key borders

There is a chip to the underside of the foot, 2cm long and further very small chips in the same area. The upperside of the foot has residues of a spray, indicating possible restoration. The gilding is rubbed in places throughout.
"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 1777 Empress Catherine the Great gave the factory in Nazya to Prince Grigory Potemkin who decisively changed the production by abandoning cut, colourless glass and introducing smooth forms rendered in enriched, jewel-like tones. Shades of opaque and transparent blue, red, green, yellow and violet and other colours served as background for Neo-classical decoration. The glassworks also began to produce large-scale objects such as vases, mirrors, candelabra and chandeliers to decorate and add colour zest to palace interiors.

A similar vase also decorated in Neo-classical style with gilt scenes from Classical myths against a navy ground is in the collection of the State Hermitage Museum, St. Petersburg. The emergence of Neo-classicism in Russia was connected with assimilation of the Renaissance culture, the adoption of Italian, French and English traditions; and in the late 18th - early 19th centuries, the assimilation of classical examples. The images of Neo-classicism during this period corresponded to the ideology of the nobility at its highest stage of development and satisfied imperial expectations and nationalism. The state and the nobility were the main commissioners of the style characterised by the tendency towards allegory and includes the images of gods, heroes, and military trophies.