A magnificent pair of large gilt-bronze-mounted granite and bronze athéniennes Louis XVI, circa 1775-1780

the turned granite bowl with a leaf-cast gilt-bronze mount to the rim supported by a tapering tripod headed by lions` heads joined by turned stretchers and raised on claw feet, enclosing an acorn headed central support entwined with a serpent on a leaf cast base, raised on a plinth

Acquired either by Francis Russell, 5th Duke of Bedford (1765-1802) or John Russell, 6th Duke of Bedford (1766-1839), and thence by descent

Illustrated in situ in the Entrance Hall, Woburn Abbey, The Antique Collector, June 1956, p.85, (see illus. fig.1). 

Illustrated in John Whitehead, Mobilier et Arts décoratifs en France au XVIII siècle, Paris, 1992, p.157 

In overall very good original condition. Excellent provenance. Impressive size and design. Colour of granite less grey slightly more green and gilding more golden more natural and attractive than in the catalogue photograph. Old very minor marks and chips commensurate with age. One medium sized chip on top of rim of one which is hidden by gilt-bronze collar (the one cast in one piece). Another similar sized chip beneath rim of another which is more noticeable as only partially hidden by the gilt-bronze collar but this can easily be filled. The gilt-bronze collar of one is slightly later. Both collars are not fixed and would benefit from being secured to the rims. Superb quality casting of gilt-bronze and bronze. The gilt-bronze mounts are slightly dirty and would benefit from a light clean according to taste. There is a restored crack in the granite body of one vase but this is not too noticeable due to the speckling in the granite. The number 1861 engraved on the base of both refers to the date of the probate inventory after the death of the 7th Duke of Bedford in 1861. Highly recommended.
"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."

Unfortunately few papers survive relating to the collections of the 5th and 6th Dukes as they had them destroyed and it is not therefore possible to determine which Duke was responsible for bringing the present lot into the collection. The 6th Duke was known to have purchased items form the marchand Lignereux in 1803 and it is possible that the present lot was acquired by him from this source.

The inspiration for the present model appears to derive from a drawing by Joseph-Marie Vien, of 1763, drawing on the antique, illustrated in Svend Eriksen, Early Neo- Classicism in France, 1974, pl. 370. and also from Jean-Henri Eberts, editor of Le Monument du Costume, and was first advertised in L`Avantcourer in September 1773. Only a single engraving of the advertisement, now in the University of Warsaw appears to have survived, illustrated in 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, pp.166-7. In Eberts`s engraving the athénienne is shown as a perfume burner, although some were used as jardinères. Other design sources can also be see in Giovanni Piranesi`s published etchings, pl.967. and 985 illustrated in John Wilton-Ely, Giovanni Battista Piranesi, The Complete Etchings, 2 vols, 1994, vol II, p.1046 and 1067. 

One of the earliest examples of an athénienne 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.  

These athéniennes typify the sophisticated taste of the second half of the 18th century and early 19th century.   A pair of a similar form now in the collection of H.M. Queen and originally part of the collection of George IV supplied to him when Prince of Wales for Carlton House, possibly by Dominique Daquerre and which bear affinities to the work of Pierre Gouthière and Francois Rémond can be seen illustrated in Carlton House, The Past Glories of George IV`s Palace, 1991, pl. XXXVI, p.209.

A pair of very similar athéniennes in green granite and decorated with lion`s masks, by repute formed part of the collection of the celebrated French collector Jean-Baptiste de Machault d`Arnouville, (see fig.2). He was one of the most important men of Louis XV`s reign. Born in 1701 in a rich parliamentary family and during the course of his illustrious career held several ministries including being Ministre de la Marine and Contrôleur Général des Finances He was also a great friend of  Madame de Pompadour. He subsequently died in jail during the French revolution in 1794. These athéniennes subsequently passed into the collection of Léonce Melchior de Vogüe (1805-1877) who inherited a substantial part of the former collection of de Machault d`Arnouville through his wife, born Henriette de Machault. Subsequently they were  sold in an auction in Versailles on 1st April 1990 for 1.580.000 FF.

A similar single athénienne with a later bowl was sold Sotheby`s Paris, Collection Europèenne, June 14 2006, lot 114.