Chimneypiece, marble, after a design by Robert Adam, English, ca. 1760

The central relief depicts Bacchus and Ariadne in a chariot drawn by panthers.

Originally from 15 Portman Square, London, which according to the donor once belonged to the Duke of Fife. In 1935 offered to Mr Reginald Jones by the art dealer Pratt for £195, and presumably purchased by him then. On loan to the Museum from Mr Jones from 28 September 1935, and subsequently bequeathed by him to the Museum in 1952, together with four Italo-Flemish plaquettes (inv. nos. A.15, A.15:A, B and C-1952). The present piece together with the plaquettes reverted to being loans during the lifetime of Mr Jone's wife, Mrs. E.M. Jones, who died in 1962.

Historical significance: In a letter to the Museum in 1935, the donor Mr Jones wrote that the present piece was 'the best and most important of all the mantles in these 4 notable Adam houses...The centre panel is particularly good work on the purest marble. The method of construction is the same as on other mantles I have seen and as can be seen in the book illustrations. A suggestion is made that such panels were brought from Italy - in a case like this possibly by Robert Adam himself, and a mantelpiece built to contain it'.

This Chimeypiece is originally from 15 Portman Square, London, which according to the donor once belonged to the Duke of Fife. It is made after a design by Robert Adam in ca. 1760.
The centre panel relief depicts Bacchus and Ariadne in a chariot drawn by panthers.

Robert Adam was a leading British architect and designer. He trained in the family practice in Scotland and then completed his training in Italy by studying architecture on his Grand Tour from 1754 to 1758. Adam established a practice in London on his return. His famous and distinctive style depended on the close supervision of every aspect of architectural design and interior decoration, as seen, for example, at Kedleston, Derbyshire. He revitalised existing buildings, such as Syon House and Osterley Park in London. Adam designed many major country houses from Luton Hoo, Bedfordshire, to Gosford House, Lothian. He was the leading British architect of his day. The light, delicate Neo-classical style that is named after him was highly influential in Britain, France and the United States.

A.14-1952