An Italian carved white marble athénienne late 18th century

the shallow basin with a raised flower head to the centre surrounded by a band of entwined foliage interdispersed with flowerhead motifs, the rim worked with leaf carving and beaded border, raised on three lion paw feet positioned on waisted tapered supports with reserves carved with inset flowerhead surmounts and acanthus and anthemion trophies, the triform stepped base on a thick circular violet breché marble plinth

Compton Place Inventory, 1892, p. 80 standing in The Gallery Statuary marble tripod on marble base
Photographed in the late 19th century or early 20th century at Compton Place standing in the Gallery bay window

Good overall condition. The top has many stains and marks. The supports are in good condition with only minor chips to some corners and the edges. One of the plinths for a support has a chipped corner and the circular marble base has one large chip to the edge.
"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."

This finely carved carrara marble athénienne, is inspired by antique models and is loosely based upon Piranesi's late-18^th century etching of a marble tripod in the Museo Capitolino (see John Wilton-Ely, Giovanni Battista Piranesi, volume II, San Francisco, 1994, p.1066, pl.985).  Piranesi produced this etching in response to the growing popularity of the restoration and sale of classical antiquities to young British aristocrats on their Grand Tour during the late 18^th/early 19^th century. In late 18^th century Rome, the demand for classical antiquities was a thriving trade due in part to entrepreneurs such as Thomas Jenkins and Gavin Hamilton whose profitable excavations of Hadrian's Villa at Tivoli met the increasing demand of their British aristocratic clientele.  Their findings were  later advertised by Piranesi in his previously mentioned collections of etchings, entitled Vasi, candelabra, cippi, sarcophagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi, Rome 1778. Furthermore, the excavations of Herculaneum and Pompeii,  in the second half of the 18^th century,  also stimulated the desire for classical objects.

The original position of this fine athénienne in the collection is unknown. Interestingly, whilst it appears in the Compton Inventory, 1892, it does not appear in the inventory taken two years earlier. Similarly whilst it appears in the photograph illustrated here taken in 1900, there is a photograph of the room approximately ten years earlier which shows a table standing in the bay at the end of gallery. Given that the furniture in Chiswick was largely being removed circa 1890, it might have been thought that originated there and was sent to Compton Place. However the Chiswick Inventories taken in 1811, 1863 and 1869 make no mention of it.