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拍品專文
The present vase most probably derives from a design for an acanthus-carved porphyry example destined for the Marchese del Carpio (d.1687) and forming part of his important collection of objets d'art. Gaspar de Haro y Guzmán, marchese de Liche e del Carpio ranked amongst the most important Spanish collectors of the 17th Century and is recorded to have assembled a selected group of porphyry objects. Most of these were probably acquired from Cardinal Giacomo Filippo Nini (d.1680) and several are specifically listed in the inventory drawn up after del Carpio's death in 1787.
Both the vase, now in the Museo del Prado in Madrid, and the design after which it was made are illustrated by A. González-Palacios in Arredi e Ornamenti alla Corte di Roma, 1560-1795, Milan, 2004, p.114). As the author remarks, the scarcity of recorded 17th Century porphyry vases makes the Marchese del Carpio's collection all the more rare. Not only were the Spanish aristocrats keen amateurs of such luxurious porphyry objets d'art but so was the French Court. This engouement is reflected in the many acquisitions made for Louis XIV by the abbé Elpidio Benedetti (c.1610-1690), originally Roman agent for Cardinal Mazarin and that of the King upon the Cardinal's death in 1661.
Both the vase, now in the Museo del Prado in Madrid, and the design after which it was made are illustrated by A. González-Palacios in Arredi e Ornamenti alla Corte di Roma, 1560-1795, Milan, 2004, p.114). As the author remarks, the scarcity of recorded 17th Century porphyry vases makes the Marchese del Carpio's collection all the more rare. Not only were the Spanish aristocrats keen amateurs of such luxurious porphyry objets d'art but so was the French Court. This engouement is reflected in the many acquisitions made for Louis XIV by the abbé Elpidio Benedetti (c.1610-1690), originally Roman agent for Cardinal Mazarin and that of the King upon the Cardinal's death in 1661.