A George III gilt-bronze mounted carved white marble chimneypiece circa 1780, to a design by James Wyatt

the mantelpiece with a leaf cast frieze above a further border of rosette motifs, the outer jambs carved with wheatsheafs issuing from classical urns within beaded borders, teminating in block feet with gilt metal rosettes, losses and damage

Fair condition. The mantelpiece is intact as is the foliate carved border. The rosette motif mounted border is broken into many sections. The wheat and urn carved panels are in good condition. One has a chip to its top left corner. An inner panel applied with a gilt bronze decoration depicting trailing oak leaves is broken into two sections. The other matching panel is missing. Chips throughout including the corners and edges.
"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."

James Wyatt (1746-1813)  was the sixth son of Benjamin Wyatt of Weeford. Early signs of an artistic ability led to him being sent to Italy where he stayed for six years from 1762, spending two years studying under Antonio Visentini in Venice. He returned to England in about 1768 working in close association with the family firm of architects and in particular with his elder brother Samuel. He brought with him a first hand knowledge of both antique and renaissance architecture. He was also greatly influenced by the work of Robert and James Adam whose work he was probably able to study at Kedleston where Samuel was master carpenter. The buildings that he was to design over the next few years were in an elegant neo-classical style reflecting these influences. He initially came to prominence by his design for the Pantheon in Oxford Street, London which opened in 1772 and in a moment of enthusiasm Horace Walpole pronounced it to be the `most beautiful edifice in England'. On the strength of this at 26 Wyatt was to find himself a fashionable and celebrated architect and an Associate of the Royal Academy. He rapidly acquired many aristocratic clients and also received the patronage of the royal family when he rebuilt Frogmore House for Queen Charlotte. In 1796 he was appointed the royal architect following the death of Sir William Chambers and carried out further work at Windsor and Kew. Unfortunately he was extremely unbusinesslike in his approach to work and on his death in his nephew reported his uncle`s `neglect had destroyed the Office of Works as it was'.  

He is recorded as carrying out repairs and decoration for the 5^th Duke of Devonshire at Devonshire House, 1776-90 and this chimneypiece forms part of these alterations.