A rare and most unusual Italian forged wrought iron Athenian, executed in sculptural serpent snake motif, with original hand painted polychrome accents.

The sturdy, tripodal hand forged black iron tiered base dates to the 19th century, featuring an elegant flowing sinuous silhouette, having a circular iron banded frame top, over a trio of figural serpent form hooks meeting near center, rising on curvilinear supports protruding in swans neck form with open jaw serpent heads, joined with lower tier pot shelf stretcher with parcel gilt decorated foliate leaf or cobra head openwork raised gallery, resting on three out-splayed legs, terminating in scroll feet.

The extraordinary stand matched with a later antique Tuscan copper and brass brazier (ancient fire/coal pit used for heating a room and simple cooking). Born in Tuscany, Italy in the early 20th century, rounded form, having a flared brass rim adorned with a pair of richly detailed mythical beast-form brass handles, and beautifully patinated hand hammered copper lined basin center.

History:
In 1773, Jean-Henri Eberts invented a tripod serving as a pedestal table, casserole dish, stove and gardener, which he named “Athénienne" after the painting by Joseph-Marie Vien, La virteuse Athénienne (c.1763) which showed a priestess in Athens celebrating the worship of Athena and doing so by means of a piece of furniture of this type.

The Athenian is a piece of furniture inspired by the ancient times, especially ancient Greek and Roman, the small or high tripod cabinet, supporting a curved or straight top, usually a bronze basin, but could also be copper, silver, stone, or gold, and in various forms, it's three feet are generally joined by spacers forming various shelf, holder, or plinth. Some were in common use and served as braziers, washstands, while others were placed in churches, religious buildings, and shrines throughout Europe as offerings.

According to an advertisement published in the Avant-Coureur of September 27, 1773, the Athenian has multiple uses. from the incense burner parfum to the flower pot basket, including the soup stove. It was an immediate and lasting success, quickly spreading under the Neo-classical Revival influenced Empire period, where it became more and more luxuriously appointed and extravagantly decorated. Additionally used as a washstand lavabo, cauldron tripod, torchiere lamp, jardinière pedestal, cache pot planter, and more.

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Dimensions: (approx)
30" High, 16" Diameter

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In today's contemporary interiors, the Athénienne is as versatile as ever, with the ideal size and proportions for a variety of different uses, the options are only limited by your imagination! A few common uses for this most uncommon antique includes as a guéridon, side table, artistic accent piece, tray top server, indoor or outdoor plant stand, patio fire-pit, one-off yard art, garden ornament or bird bath, to name just a few!

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Artisans:
Reminiscent of, possibly attributed to, one of two very important 19th/20th century ironwork designers, Samuel Yellin or Edgar William Brandt.

Samuel Yellin (1884–1940) a Russian Empire born American master blacksmith, and metal designer, who was highly knowledgeable about traditional medieval craftsmanship and design, but also championed creativity and the development of new designs. A superb Animalier sculptor. Yellin's works can be found in some of the finest buildings, museums and collections in America and around the world.

Edgar William Brandt (1880-1960) a Parisian born French ironworker, at his height during the Art Nouveau movement, then transitioning to Art Deco Moderne. fFrom an early age, Brandt had been interested in nature, Art Nouveau's main design elements of animals, birds, and plants, which he learned to deeply love and respect, developing a celebrated repertoire of stylized and conventionalized designs based on nature and his own exoticism. He is internationally exhibited and his works highly coveted.

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Condition:
Each in great shape. Later matched, the brazier and stand is not an original set, fitted well, but not perfectly. This one-of-a-kind work presents splendidly, with nicely aged patina over the whole, highly desirable worn, organically distressed finish, with wear and tear consistent with age and indicative of use. The brazier features a warm, rich, beautifully patinated finish, with stunning scattered oxidation and verdigris patina spotting that does not detract from the overall display, but only adds to the distinct antique character, rustic warmth, depth, and sophisticated Mediterranean old world charm.