拍品 137
  • 137

A GEORGE III PAINTED PINE CHIMNEYPIECE OF CONCAVE FORM, LAST QUARTER 18TH CENTURY, IN THE MANNER OF ROBERT ADAM, |

估價
10,000 - 15,000 GBP
招標截止

描述

  • 139cm. high, 187cm. wide, 12cm. deep; 4ft. 6 3/4 in., 6ft. 1 5/8 in., 4 3/4 in.
the jambs applied with two paste cameos of Christ and Mary, probably lacking original blocks to jambs, re-decorated

出版

Acquired from Apter-Fredericks Ltd., 2016.

Condition

In overall good restored condition. Painted decoration later. Carving of superb quality and with small losses and replacements consistent with age and use. Lacking original blocks to base of jambs. Very decorative item. Please note as per description, the overmantel is of concave form.
"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."

拍品資料及來源

This exceptionally fine concave chimneypiece relates to the output of Scottish architect-designer Robert Adam (1728–1792) and the neoclassical style with which he is so firmly associated. There are however no extant drawings by Adam for this or an equivalent chimneypiece making it impossible to rule out other key proponents of neoclassical design, such as Adam’s great rival, James Wyatt (1746-1813). The concave form indicates the present chimneypiece was intended to be set into an apse, a devise employed frequently by Adam and Wyatt, whilst the portraits of Christ and Mary inset into the jambs in place of classical cameo, are an intriguing addition and suggest the original patron was a devout Christian.