a pair signed Henri Dasson and dated 1885, the other signed Henri Dasson and dated 1887

Camille Mestdagh, L’Ameublement d’Art Français, 1850-1900, Paris, 2010, p. 135 and p. 66 for the model showing at the Paris 1889 Exposition Universelle

Overall in fair condition with the usual tarnishing and dirt to gilt bronze mounts consistent with age and atmospheric conditions through the years. Small points of green oxidation and pitting scattered throughout the bronze. Two floral finials are loose. The marble has been varnished, which is flaking in places. The marble of one urn has an old restoration, traces of darker filler are visible in places, however two areas (one small and one larger: approx. 3/4 in.) are missing filler.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This model was received with great acclaim at the Paris 1889 Exposition Universelle when displayed on top of the bombé commode centered by a vernis-Martin panel allegorical of one of the four continents, Africa (see: 19th Century Furniture and Decorative Arts, Sotheby's New York, October 15, 2015, lot 42 for the commode). Another pair of vases were acquired by Frederick William Vanderbilt (1856-1938) for his Hyde Park residence, New York state. The three Vanderbilt brothers, William Kissam (1849-1920), Cornelius II (1843-1899) and Frederick William (1856-1938), were all active clients of Dasson following his presence as an exhibitor in the 1893 Chicago Universal Exhibition. Dasson's decorative works of arts were recorded in their New York Hotel Particuliers at 660 Fifth Avenue and at 1 West 57th Street as well as in their Newport Mansions: Marble House and the Breakers.

Henri Dasson (1825- 1896) established his workshop at 106, rue Vielle du Temple, after a brief career at Rue des Nonnains-d’ Hières in the fabrication of bronze artifacts and clocks in association with Emile Godeau.  A gifted draftsman, Dasson studied under Justin Marie Lequien, professor at the École Superieur Turgot.  In 1871, he bought the workshop and stock for 14,000 francs from the widow of the ébéniste (cabinet maker) Charles-Guillaume Winckelsen, and soon became recognized as a brilliant ébéniste and bronzier .  Specializing mostly in the production of works from the Garde Meuble National, he participated in the 1878 Paris Exposition Universelle prompting critic Louis Gonse to comment: ‘nouveau venu dans la carrière industrielle, Henri Dasson s'est rapidement crée par la perfection de ses oeuvres une très haute situation à laquelle nous applaudissons chaleureusement.’(New to the industry, Henri Dasson has become highly respected by his peers, thanks to the quality of his creations, we applaud him with great warmth). He was made a Chevalier of the Légion d'honneur in 1883 and was awarded the Grand Prix Artistique at the 1889 Paris Exposition Universelle. When the business closed in 1894, an auction was organized to clear the remainder of his stock. 🐼;