ENGLISH, PROBABLY LONDON, CIRCA 1760-1770
ENGLISH, PROBABLY LONDON, CIRCA 1760-1770
ENGLISH, PROBABLY LONDON, CIRCA 1760-1770
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These lots have been imported from outside the EU … Read more THE PROPERTY OF A LADY
ENGLISH, PROBABLY LONDON, CIRCA 1760-1770

BOWL

Details
ENGLISH, PROBABLY LONDON, CIRCA 1760-1770
BOWL
Agate with gilt-bronze mounts
With two loop handles held by lion masks; underside with a BADA paper label
8 7/8 in. (22.2 cm.) wide; 4 7/8 in. (12.2 cm.) high
Provenance
Purchased in the UK in the mid-20th century and by descent to the present owner.
Private collection, Australia.
Literature
N. Goodison, Ormolu: The Work of Matthew Boulton, London, 1974.
Special notice
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Donald Johnston
Donald Johnston

Lot Essay

This beautifully mounted bowl, made from a stone often referred to as ‘oriental agate’, exhibits a neo-classical vocabulary which is tinged with the final small flourishes of rococo decoration. Although seemingly not from his hand, the mounts do bear some similarities to the work of Matthew Boulton (1728-1809) the manufacturer and entrepreneur. Known today for his importance in the creation and dissemination of the modern steam engine, in the 1760s and 1770s Boulton also produced beautifully executed ormolu-mounted objects in the neo-classical style. These often incorporated Derbyshire fluorspar, better known as ‘blue john’. Among his works, the shallow masks seen on a pair of perfume burners in the Royal Collection bear a striking similarity to the masks on the present bowl (illustrated in Goodison, op. cit., fig. 94). It seems likely that the author of the present lot worked in the same artistic milieu and was familiar with the decorative vocabulary of Boulton’s work.

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