Mid-18th Century George II Carved Pine Chimneypiece

The central plaque depicts a pastoral scene with a shepherd and his flock resting beneath a tree. Bales of hale details decorate the corner blocks, from which garlands of bell flower...

A chimneypiece of good, neoclassical proportion with canted foot blocks and fluted jambs. On the central tablet are two onions, bound by a ribbon, their organic forms well carved. Fo...

Predominantly uncarved, this stripped pine and gesso chimneypiece is of neoclassical form and austere complexion. A waterleaf moulding in gesso frames the aperture and the central ta...

A Fine 19th Century Pine Chimneypiece in George II Revival Style. The imposing and elegant moulded shelf is supported by a dentil detail. The pulvinated frieze is carved with a refin...

An attractive 18th century George III pine fireplace. The frieze delicately carved with scrolled foliage to centre blocking and side panels. The jambs with carved tied ribbon with be...

A medium scale George II English Siena and Statuary marble fireplace with columns. The carving of fine quality including leaf moulding and dentils to shelf, egg and dart inner mouldi...

Beautiful and strong early 18th century George II limestone panelled frame chimneypiece. The frieze centred by a moulded keystone with graduated flut...

A very rare 18th century George II sienna and white statuary marble fire surround in the manner of Louis XV, designed by Isaac Ware. Principally of well figured sienna marble with statuary marble shelf and embellishments. Of serpentine form, the frieze centred by a carved statuary peacock flanked by scrolling acanthus leaves. The hipped jambs mounted with ‘C’ scrolls above an elaborate acanthus ‘S’ scroll terminating in a rosette and suspending graduated husks. The whole standing on block feet. Provenance: Philip Stanhope (1694-1772) 4th. Earl of Chesterfield, Chesterfield House, London. One of the most important figures of the 18th Century in England; a man of letters, connoisseur of the arts, diplomat, he was sent as a young man to the court of Louis XV. The Earl, very much a courtier and ‘townsman’, having spent time in Paris and Versailles, became passionate about the ‘style á la française’. It is very curious then that he should have chosen such a classical architect as Isaac Ware. Ware heavily influenced the design of the ground floor where the dining room, library, waiting room amongst others were situated. In stark contrast the first floor ‘piano nobile...