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Lot Essay
The design for these magnificent brûle-parfums is based on the ‘sphinx vase’ perfume burners by the master English ormolu maker, Matthew Boulton (d. 1809) produced circa 1770. Although the form of these vases is inextricably linked to that of the Boulton vases, there are minor variations in detail, the most notable being the use of red porphyry here in place of the bluejohn or ‘radix amethysti’, and the use of tortoises supports, instead of the sphinxes employed by Boulton, and from which his vases took their name.
Whilst the original design for Boulton’s brûle-parfums or vases does not survive, it is almost certain that they were originally conceived as part of the garniture de cheminée commissioned by Queen Charlotte (consort of King George III) for her bed chamber in March 1770; indeed the original design may well have been the work of the court architect William Chambers, and was possibly amongst the designs for ‘various vases etc., to be executed in or molu [sic] by Mr Boulton for their Majesties’ which he exhibited at the Royal Academy that year. A pair of ‘sphinx vases’ remain in the Royal Collection, where they are displayed on the mantle in Her Majesty the Queen's private sitting room at Windsor Castle (see N. Goodison, Matthew Boulton: Ormolu, London, 2002, pp. 350-353). There is also a pair from the collection of the Metropolitan Museum, New York, illustrated and discussed in H. McCormick & H. Ottomeyer, Vasemania, New York, 2002, p. 102; and an example is illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Munich, 1989, vol. I p. 202, fig. 3.15.4.
As Boulton had originally derived his designs from French models so later generations of the French bronziers with whom he had sought to compete, drew on his work for inspiration, as shown in the present brûle-parfums. A small but distinct group of French vases and vase clocks, based on Boulton’s ‘sphinx vase’, have emerged. These vases all employ the richest of materials - as seen here with the use of rich red porphyry - prized since antiquity – suggesting that they were made for significant patrons. The detailing of these brûle-parfums has much in common with those in the Royal Collection, employing pierced guilloche rim and fluted ‘cradle’ to the base of the urn, whereas the drapery on the upper plinth appears to other variants of the ‘sphinx vase’ produced by Boulton (see N. Goodison op. cit. p. 353, pl. 358.). The close proximity of the detailing to that of Boulton’s originals suggests that the creator of these French examples may well have had access to one of his originals, or elements thereof from which to work; a theory made all the more likely given the known circulation of Boulton’s work throughout Europe, via his known network of ambassadorial contacts, agents and patrons.
An 18th-century example of Boulton ‘sphinx vase’ was sold Christie’s London, 20 November 2008, lot 30. A Restauration pair of porphyry bodied vases of this model was sold Christie’s Paris, 14 April 2015, lot 183 (39,900 euros) and another close variant, with bodies of verde antico was sold Christie's Paris, 19 December 2007, lot 382 (90,000 euros).
Whilst the original design for Boulton’s brûle-parfums or vases does not survive, it is almost certain that they were originally conceived as part of the garniture de cheminée commissioned by Queen Charlotte (consort of King George III) for her bed chamber in March 1770; indeed the original design may well have been the work of the court architect William Chambers, and was possibly amongst the designs for ‘various vases etc., to be executed in or molu [sic] by Mr Boulton for their Majesties’ which he exhibited at the Royal Academy that year. A pair of ‘sphinx vases’ remain in the Royal Collection, where they are displayed on the mantle in Her Majesty the Queen's private sitting room at Windsor Castle (see N. Goodison, Matthew Boulton: Ormolu, London, 2002, pp. 350-353). There is also a pair from the collection of the Metropolitan Museum, New York, illustrated and discussed in H. McCormick & H. Ottomeyer, Vasemania, New York, 2002, p. 102; and an example is illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Munich, 1989, vol. I p. 202, fig. 3.15.4.
As Boulton had originally derived his designs from French models so later generations of the French bronziers with whom he had sought to compete, drew on his work for inspiration, as shown in the present brûle-parfums. A small but distinct group of French vases and vase clocks, based on Boulton’s ‘sphinx vase’, have emerged. These vases all employ the richest of materials - as seen here with the use of rich red porphyry - prized since antiquity – suggesting that they were made for significant patrons. The detailing of these brûle-parfums has much in common with those in the Royal Collection, employing pierced guilloche rim and fluted ‘cradle’ to the base of the urn, whereas the drapery on the upper plinth appears to other variants of the ‘sphinx vase’ produced by Boulton (see N. Goodison op. cit. p. 353, pl. 358.). The close proximity of the detailing to that of Boulton’s originals suggests that the creator of these French examples may well have had access to one of his originals, or elements thereof from which to work; a theory made all the more likely given the known circulation of Boulton’s work throughout Europe, via his known network of ambassadorial contacts, agents and patrons.
An 18th-century example of Boulton ‘sphinx vase’ was sold Christie’s London, 20 November 2008, lot 30. A Restauration pair of porphyry bodied vases of this model was sold Christie’s Paris, 14 April 2015, lot 183 (39,900 euros) and another close variant, with bodies of verde antico was sold Christie's Paris, 19 December 2007, lot 382 (90,000 euros).