A fine pair of gilt-bronze athéniennes, Paris circa 1880

each with a shaped bowl on a  rouge griotte marble base

In good original condition, the central bowls with old water marks, the bronze with surface dirt and tarnished, the exterior of the steel bowls with light rust, minor surface marks and scratches.
"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."

Comparative Literature:
D. O. Kisluk-Grosheide, W. Koeppe, W. Rieder, European Furniture in the Metropolitan Museum of Art, Highlights of the Collection, New Haven and London, 2006, pp166-167, no. 69.

The athénienne was a completely new, multifunctional type of French Neoclassical furniture derived from the tripod-shaped perfume burner of classical antiquity. It could be used as a washstand, perfume burner, food warmer, and jardinière. It was invented, probably in 1773, by Jean-Henri Eberts, editor of Le Monument du Costume, and was first advertised in L'avantcoureur in September 1773. Only a single engraving of the advertisement, now in the Library of the University of Warsaw, appears to have survived, illustrated op. cit., p. 166. In Eberts's engraving the athénienne is shown as a perfume burner, although some were used as jardinières.
Several examples of the athénienne have survived. One of the earliest may have been supplied to Madame du Barry (1743-1793) at Louveciennes in 1774. A carved giltwood athénienne after the design by Eberts is in the Metropolitan Museum of Art New York (1993.355.1), illustrated op. cit., p. 167.

The exceptional quality of the bronzes on this pair of Atheniennes would suggest the work of an eminent maker. The most likely candidates would be Dasson or Beurdeley. It is entirely possible that they could be attributed to latter as work was often left unsigned and bronzes are sometimes incised with a BY on the reverse, which can only be found on removing all the mounts.