A fine pair of Neoclassical style ormolu mounted, patinated brass, white Carrara and levanto rouge marble tripods en athénienne, France or England, mid 19th century, after the model designed by Joseph-Marie Vien

several bronze mounts have been removed to reveal the letter H from the bronze master models, possibly for the renowned bronzier Hatfield of London

S. Eriksen, Early Neo-classicism in France, 1974, pp.138, 343, pl.186 and pl. 370 for an engraving by J.J. Flipart after a painting by J.M. Vien

Joseph-Marie Vien, La Vertueuse Athénienne, 1762. "Représente l'Hiver personnifié par une prêtresse qui brûle de l'encens sur un trépied". Musée des beaux-arts de Strasbourg.

Overall in good condition and presentation. The casting of the gilt bronze mounts is of high quality. The patinated copper baluster-shaped middle section is most probably redecorated as it shows no traces of scratches or wear. Scratches to white marble top. Visible chips to edges of red marble tripod base. The department encourages interested parties to use our online e-catalogue's zoom function to enjoy magnified and alternate views of this lot.
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.

The design of the present pair of pedestals or table for candelabras draw its inspiration form the Classical incense burner which had a tripod stand and commonly known as Athénienne.

 Sir F.J.B Watson, ex director of the Wallace Collection, London, from 1963 to 1974 and Surveyor of the Queen's Works of Art from 1963 to 1972, while discussing the Wrightsman's Athénienne, now in the Metropolitain Museum of Art, gift of Mrs. Charles Wrightsman in 1993, leads us to a variant showing in a painting by Charles LePeintre (1736- d. circa 1803) of the Duc de Chartres and his family. The Duc de Chartres was Louis Philippe Joseph d' Orléans (13 April 1747 – 6 November 1793) commonly known as Philippe Égalité and was the father of King Louis-Philippe I. interestingly in the original painting one can see the Duke entering a room from the right and greeting his wife, who is sitting on a sofa with their two children, and a tripod table of exact same design as the present lot.

The revival of the Athénienne in the decorative art was put back in fashion circa 1773, by J.-H. Eberts, banker and editor of the Monument du Costume. see: original engraving that appeared in an advertisement in L'Avantcoureur in September 27, 1773 (Eriksen, op cit., p. 403, pl. 484), and now preserved in the library of the university of Warsaw, Poland. Eberts describe his new form of furniture in the accompanying caption as " Nouveau Meuble/Servant/de console/de casolette/de pot de Fleurs/de Terrasee/de reservoir" and it is very likely possible that Eberts draw his inspiration from a painting he owned by J. M Vien, showing an athénienne of same exact design as the ones offered in the present lot. See Joseph-Marie Vien, La Vertueuse Athénienne, 1762. "Représente l'Hiver personnifié par une prêtresse qui brûle de l'encens sur un trépied". Musée des beaux-arts de Strasbourg.