A PAIR OF LARGE GILT-BRONZE MOUNTED ORIENTAL ALABASTER VASES, LOUIS XVI |

the spiral fluted cover surmounted by a grape and vine leaf finial, the ram’s head handles issuing drapery swags with grapes and vine leaves, the socle on a shaped square gilt bronze base; (restorations to the alabaster)

- Collection Princes Demidov, Grand Salon d'honneur, Villa San Donato, Polverosa, Italy;
- Sale Villa San Donato, 15 March 1880, lot 1559; bought by Mr. Ward for the Pereire family;
- Collection Pereire, in their hôtel particulier rue du faubourg Saint-Honoré, Paris

- P. Verlet, La maison du XVIIIe siècle en France, Paris, 1966, p. 57 (ill.)

RELATED LITERATURE
- F. Haskell et al., Anatole Demidoff, Prince of San Donato (1812-1870), exh. cat. London, 1994

Impressive pair of mounted vases in fairly good condition, consistent with age. The first vase with some scattered patched restorations to the alabaster (made a long time ago due to the fragility of the stone): some edge chips on the cover and on the rims, some holes filled in with marble powder and a slight hairline crack on the body, the stem possibly replaced. The gilt-bronze swags and base were probably overmolded from the ornaments of the other vase; the bronze mounts were regilt late 19th century, certainly after the San Donato sale. The second vase with a more extensive restoration to the alabaster, especially on the body above the stem and on the stem. One bronze swag (broken in two pieces) needs to be soldered properly; the bronze mounts were also regilt late 19th century. As stated in the saleroom notice, please note that the height of both vases is 69,5 cm (27 1/4 in.). Both vases with a lavish and refined chasing on the finials, the ram heads and the swags. A slight restoration should be considered in order to attach properly some wobbly bronze elements and to enhance the beauty of the alabaster. Very rare to find vases of great size and with such an imposing look.
"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."

The cabinets of Collectors during the 18th century were full of variously shaped and coloured porcelain as specified in inventories and auction catalogues. For important collections, special attention was paid to the descriptions of proposed artifacts, with diverse classifications noted, highlighting the different provenances, but also noting the array of materials and colours. Every enthusiast had to possess a collection of marble and hard stone objects and vases, which are often precisely described and classified by mineral. Numerous auction catalogues list these highly decorative objects and the collection of the Duc d’Aumont which was dispersed in 1782, is proof of this passion. The most illustrious bronze artists of the time were inspirited to create and enhanced these cleverly crafted artifacts with gilt bronze mounts. The artisan Pierre Gouthière is mentioned in several documents during this era (see Appendix 1 in C. Vignon and C. Baulez, Pierre Gouthière, ciseleur-doreur du roi,, 2016, New York).

Among the ornamental vases with certain stylistic analogies are a fluorite pair at the Cognacq-Jay Museum in Paris (inv. J 303, see fig. 3) and a pair of brown veined marble vases of the same size, from the former J. Ortiz-Patiño collection, Sotheby's, London, Treasures, 9 July 2014, lot 45 (fig. 5).

The Demidov Collections in San Donato 

The Russian aristocrat Anatoly Demidov, born in St. Petersburg in 1812, was one of the great art lovers and collectors of his time (fig. 1). Born into a dynasty of arms suppliers for the Imperial troops and owner of mining companies in the Urals and Siberia, his family was rewarded with a title of hereditary nobility in 1720. Anatoly's father was the true founder of the family collection. Shortly after his wife’s death in 1818, he settled in Rome with his son, Anatoly, and in 1822 bought a large estate in San Donato, near Florence, where he built a palace to house his collection (fig. 2). His numerous works of charity earned him the title of Count of San Donato, granted by the Grand Duke of Tuscany. The colossal fortune of the Demidovs enabled Anatoly to continue, on yet a larger scale, the work begun by his father, and he bought, from across Europe, paintings by Old Masters and decorative arts intended to adorn his luxurious villa. A great benefactor and relentless collector, Anatoly was also passionate about the Napoleonic reign. His marriage in 1840 to Princess Mathilde, daughter of Jérôme Bonaparte, Napoleon’s brother, former King of Westphalia, only increased the prestige and fame he was constantly seeking. The marriage failed, but Anatoly Demidov pursued his quest for artistic acquisitions, bringing together an impressive array of 18th-century French furniture and decorative art objects.

During his lifetime, he proceeded to auction off some of the collection in Paris to elevate the status of his collection. He died on 29 April 1870, the day after the last sale. His nephew Pavel Pavlovitch inherited all his property and continued his uncle's endeavours by reigniting the renowned splendour at the Villa San Donato. In 1880, Pavel Pavlovitch decided it was his turn to sell the contents of the villa and at this legendary auction, these vases were then sold as item no. 1559 (fig. 4).