ATTRIBUTED TO MATTHEW BOULTON & JOHN FOTHERGILL, CIRCA 1775

THE DESIGN: BOULTON, FOTHERGILL, AND WEDGWOOD
These beautiful ormolu-mounted white marble candle vases almost precisely follow a design by Matthew Boulton (1728-1809) and John Fothergill (1730- c.1782) published in their Pattern Book No. 1 (p. 171, fig. t) and reproduced in Sir Nicholas Goodison's Ormolu: The Work of Matthew Boulton (New York, 1974, p. 383, fig. 161).

Josiah Wedgwood (1730-1795) was a close friend of Boulton's and his patterns are thought to be the source for the medallions used on the plinths of these candle vases. Boulton's medallions of classical figures are almost identical to the cameos and intaglios made by Wedgwood and his partner James Tassie. Moulds for these examples can be found in the Wedgwood Collection at the Victoria & Albert Museum. All derive from the same classical source of Renaissance gems. Many gem collections in Europe were widely published at this time and Boulton's library contained A.F. Gori's Museum Florentinum (1731-1766), in which gems from the Medici collection were engraved.

The subjects of the medallions on this pair of candle vases are: Pomona, a Roman goddess of fruit trees, gardens, and orchards, and depicted carrying a basket on her head overloaded with fruit, tumbling to the ground, shown once on each vase (see intaglio: V&A 5148-1901). Hygeia, once on each, with an olive branch in her right hand, as seen in Tassie's reproduction of Valerio Belli's gem, and holding a snake in her left hand over an altar (missing from Belli's original gem). This was produced by Wedgwood both as an intaglio and as a cameo (see mould: V&A WE.779-2014). Venus & Cupid, only on one vase, showing Venus leaning against a column with a pike, and giving a helmet to Cupid (see mould: V&A WE.928-2014). Aesclepius, Greek god of medicine, only on one vase, depicted with a snake wrapped around his staff (see mould: V&A WE.906-2014). The last medallion subject is either Diomedes or Perseus, shown once on each vase, depicted as a conquering hero (see mould: V&A WE.798-2014).

Boulton asked patrons to choose from a limited repertoire of motifs, and therefore each vase or pair of vases is adorned with their own combination. Boulton used nine medallion subjects on recorded vases of this type. Subjects not depicted here include Venus Victorious, Sacrifice Group, and Filial Piety.

THE PROVENANCE
Another pair of this model, with slightly less elaborate lids and finials, from a private collection are illustrated in Goodison's Matthew Boulton: ORMOLU, (p. 379, fig. 153). A further example is in a private New York collection. This pair, which was acquired from Hotspur in 1981, was formerly in the Collection of Marjorie Wiggin Prescott, sold Christie’s, New York, 31 January 1981, lot 76. The Prescott Collection was one of the most important English furniture collections of its time. The sale consisted mostly of late 17th and 18th century English furniture ranging from rare early stumpwork pieces, hangings and other small objects, to some exquisite pieces of Georgian walnut and mahogany furniture, including several previously in the Percival Griffiths Collection. Astutely aware of strong provenances, the Gettys acquired other pieces formerly in the Prescott Collection, including a rare George III tea caddy inset with Chinese Export reverse paintings on glass (see: The Ann & Gordon Getty Collection: Volume 3; Christie's, New York, 22 October 2022, lot 302).