Two carved statuary marble Campana urns raised on two associated circular marble pedestals, after the Medici and Borghese vases late 18th/early 19th century

the gadrooned and beaded rims above half-lobed bodies carved with a Bacchanalian procession with Dionysus and Ariadne in the case of the former and Iphigenia with Diana in the case of the latter, over fluted socles on associated drum pedestals similarly carved

Possibly acquired for Northumberland House, London by Elizabeth, 1st Duchess of Northumberland (1716-1776);
Sotheby's London, 8 July 1966, lot 216 and then in the collection of Sir Peter Moores after that date

One recorded, as one of two, and illustrated by Helen, 8th Duchess of Northumberland, A Catalogue of Contents, Albury Park and 17, Princes Gate In The Collection of The Duke and Duchess of Northumberland, Privately Published, London, 1930, item no. 41

Medici Urn: Impressive and of superior quality but with chips below the egg and dart rim. There is some discolouration from water and the vase would appear to lack its original polished finish. There are some scratches and minor chips commensurate with age. Borghese Urn: Again Impressive and well carved. There are some chips to the beaded and egg and dart border, there is also an old crack/fissure approximately 19cm. long between the beaded and egg and dart borders, there is some discolouration from water damage Both have contained soil for plants and there is evidence of this to each interior. Because of this there is water damage to each stem probably as a result of watering. There are chips the square base of each stem. The pedestals may have been conceived for sculpture as there are two drill holes to each. Both stands have the outline of the stems that support the vases. One pedestal with a notable chip approximately 9cm. by 4cm. The base of each with chips, old marks and scratches throughout. All of the components that make up these extraordinary urns would benefit from a deep clean.
"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."

Copies of these vases were produced and sold to Grand Tourists during the 18th and the 19th century. It is possible that these were purchased by the 1st Duchess of Northumberland during her visit to Italy in 1773 with the 1st Duke, her acquisition of beautiful objects on her travels being very great. They may also have been acquired by an agent on the Duke and Duchess' behalf or possibly purchased by the family in London.

Large copies of the vases, acquired in this manner, can be found at Versailles, Woburn, Alton Towers and in the orangery at Chatsworth. These are often compared with the original Borghese and Medici vases despite the differences in dimensions. It is due to the unimpeachable status of the two original works that these copies were so highly regarded by aristocratic collectors.

Both the Medici and Borghese vases were rediscovered during the high Renaissance and are attributed to late 1^st century A.D. Athenian workshops, producing Hellenic styles for the Roman market; some have even attributed them to Phidias though this appears enthusiastic. The Borghese Vase was discovered in 1566 in the Gardens of Sallust.  It passed into the possession of the noble Borghese family until sold by Camillo Borghese, 6^thPrince of Sulmona, along with three hundred and forty three other items from the family collection to the French state. This was due to the influence of his brother in law the French Emperor Napoleon, Camillo was married to Pauline Bonaparte and it was he who commissioned the famous Canova of her, also currently in the Louvre. The depiction of Bacchic revelry was a common theme in Greek sculpture when the vase was created, the scene which is depicted in relief under a garland of vines shows Dionysius supporting the minor diety Silenus, an older, rotund and drunken member of his merry retinue, accompanied by revelling satyrs and Ariadne.

The Medici vase first appears in the inventory of the Medici collection in ‘pilo did marmot diancho storiato delle historie d’Ifigenia’ in 1598, it was moved to Florence in 1780 and soon after to Uffizi where it has remained ever since, apart from a brief sojourn in Palermo (1800-3) to escape the French. There have been many reproductions and prints of the vase, perhaps the most famous by Stefano della Bella dated 1656, depicting a youth sketching the piece. It has been suggested that the young boy may be Grand Duke Cosimo III, at the time della Bella’s pupil. The subject of the frieze has been traditionally viewed as the legend of Ipiphigena daughter of Greek high-king Agamemnon, who was willingly sacrificed to Artemis in order to procure fair winds for the Greek fleet’s journey to Troy. The figures of Achilles, Ulysses and Agamemnon have been identified to the right of Iphigena, though the statue of Diana may be a restorer’s addition, and the subject is open to dispute.

The first pedestal features a Bacchic scene containing horned, goat legged satyrs and a drunken Silenus supported by revellers and a satyr.  Satyrs were spirits of the woods and mountains identified with Faunus in roman mythology and were the followers of Dionysus. As fertility spirits they are surrounded by symbols of fecundity and excess.

The second pedestal illustrates a less obviously Bacchic scene, though the revellers play a variety of instruments including the lyre and pipes and pour wine. The herm in the corner usually denotes the god Hermes, though there is evidence that such a herm could be used to denote Dionysiac sacred marriage rituals, connected to purity and fertility. Herms of a more usual sort stood at gateways and in gardens and vineyards, and as such are appropriate if this scene is merely a depiction of a more temporal revel. In this vein, given that the relief is of early modern origin, the sculptor may be following Poussin and Rubins, who often chose to set such statues above bacchanals. Given that both works would be inappropriate partners to the patriotic and filicidal sacrifice of Iphigena it would appear that they were designed for some other purpose.