A rare pair of Wedgwood black jasper dip bough pots circa 1790

decorated in white relief with seven amorini playing musical instruments and dancing beneath a border of masks, impressed WEDGWOOD. 

There is some minor and occasional discoloration and crazing to the interiors. One has been broken into several pieces and glued back. There are several associated small chips to the edge of the base. The other has a haircrack initiating midway from the the side of the handle and forking into two haircracks and running down diagonally to the base; there are occasional, associated chippings along the cracks. One of the cherubs legs also have been touched up to possibly cover either a small chip
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.

A lilac and white jasper example of this shape with a pierced cover, also decorated with the amorini design is illustrated in Robin Reilly, Wedgwood, Vol. 1, p. 626. fig. 941, where the author catalogues it as "extremely rare" and states that the bas-relief work has been attributed to John Flaxman on the basis of the subject matter, but that no evidence has been found to support this. Reilly further notes that the design is after "an octagonal cinerary urn, formerly in the Albani Collection, now in the Capitoline Museum and would certainly have come to Wedgwood from an atelier in Rome." See ibid., p. 627, fig, 941A for a wax model of this design.