Christian Dior

blue and white faience, each made in two sections, the upper section formed as an obelisk with 20 fish mask flower nozzles, raised on four recumbent lion supports (some restoration and chips)

A very stylish and dramatic lot. One of the recumbent lion supports on one base has been broken and glued. Another lion on the same base has been broken and restored.The base of the other vase has a shallow chip to the top rim, approx. 1in. by 1/2 in. and an extended crack of approx.3in.length.There are several chips to the other rims . Two fish nozzles on one of the top sections have glued repairs. One of these also has an adjacent approx.1in. by 1/2in. The finial has a glued repair. The other upper section with minor glaze chips.
"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."

Whilst these theatrical vases are quintessentially Dutch in spirit they playfully re-interpretate a historical type. The fact that they have the mark of Dior is entirely appropriate when their historical context is considered.

In the 17^th century they were objects of high fashion and were often conceived for the most extraordinary settings. Queen Mary ordered Daniel Marot to produce a series of imposing designs for large vases to be made at her beloved factories in Delft in order to line the Water Gallery at Hampton Court. The powerful and very wealthy were to order similar. The Dukes of Devonshire and Marlborough, and such loyal supporters as Sir John and Lady Mary Germain at Drayton were to commission sets, and vases of this type survive at Chatsworth, Dyrham, Castle Howard and of course, Hampton Court itself.  Exceptionally, vases made for Bohemian and Moravian families in the late 17th century also remain, now  in Prague Museum.

Queen Mary's passionate support for her home industry at Delft was matched by her interest, shared with her husband , in gardens and horticulture.  Though we tend to think of the fashion as 'tulipomania', there was in fact a much more widely-based and more informed interest in all types of exotic flowers, and it is incorrect to call these pieces 'tulip vases'. They were referred to as 'flower pyramids' in contemporary descriptions and a few contemporary illustrations of them in use show them filled with all manner of extraordinary flowers.