Jamb Ltd.

The muted gazpacho red field, with all over graphic medallion and flower head decoration, within blue and golden ochre border. The overall pile and surface quality in sparingly and a...

One of a pair of early 19th century chimneypieces carved entirely in Blue Limestone. The piece features a typically thin shelf over an architecturally carved frame. Deep bullseye cor...

A Regency chimneypiece carved entirely in Blue Limestone. This piece has many unusual and playful features. Fielded panels adorning the jambs stall upon meeting the sturdy footblocks...

This Irish chimneypiece, carved entirely in Blue Limestone, has a signature Regency thin reeded shelf, a gently reeded frieze, and jambs with reeded half pilasters, terminating in fo...

A handsome chimneypiece in Italian Statuary and Convent Sienna marbles, circa 1860. The jambs are in the form of full rounded Sienna marble ionic columns, detached from the piece and...

A Regency chimneypiece of scale and presence, the whole carved from Belgian Black marble, with fluted Doric columns for jambs. These columns employ entasis, the application of a gent...

A dominant 19th century chimneypiece carved entirely in Portoro Nero marble. The extraction of this extravagant marble began at the time of the Roman Empire and is still quarried to ...

An Imperial 19th century chimneypiece of good proportions carved in well preserved Carrara marble. The statuesque piece has canted jambs carved with flutes filled with Campanula, oth...

A striking 19th century chimneypiece carved in Carrara marble, with intricate carving. The piece demonstrates a frieze and shelf bowed in form with the shelf breaking forward over th...

An attractive 19th century chimneypiece of substantial width and proportion, in Louis XVI style. The console jambs are splendidly carved with acanthus and with beading running down a...

An elegant, early 19th Century Italian chimneypiece exquisitely carved with classical and floral motifs, that reference ancient Roman architecture. This reflects the style that preva...

A Louis XVI chimneypiece composed of S-scrolled jambs and a running guilloche frieze and projecting shelf. The carving in White Marble is brisk and dynamic, yet the delicacy and exte...

A late 18th century Irish Georgian Chimneypiece of simple architectural form, carved in an arrangement of Irish marbles, Black and Kilkenny. A plain central tablet, more densely clus...

An elegant Irish frame from the early 18th century carved in Churchtown Cork marble. This simple frame is formed of undecorated header and jambs which exhibit a precise step to the o...

A late 18th century chimneypiece carved in Old English Carrara with fine pencil veins of a restrained architectural form. The breakfront shelf presides over a striking tablet, a spec...

A carved giltwood and marble chimneypiece in the style of Thomas Johnson (1714–1778), an English designer and master carver. With foliate c-scrolls, lozenges and a scored ground, the...

An exceptional 18th century white statuary and Brocatello marble chimneypiece, with tiered shelf, carved central tablet and corner blocks. Antique decorative motifs are employed spar...

A Fine Irish Neoclassical Late C18th Statuary and Sienna Marble Chimneypiece An Irish George III chimneypiece of highly elegant form, carved in white statuary marble with veneers of...

A late 18th century Irish chimneypiece in Blue Limestone, with reeded Doric columns and frieze. The pared back architectural language of this fireplace is reminiscent of Soane's inno...

An early eighteenth century simple but elegant blackened sandstone frame formed of a header and jambs featuring fielded panels. The jambs panels are finished at each end with handsome arches and the frieze is centred with a keystone carved...

A Late Georgian Style Chimneypiece in White Statuary Marble Inlaid with Fine and Rare Specimens of Blue-John Stone A 20th century fireplace with a simple moulded shelf supported by ...

A Very Rare Mid 18th Century English Chimneypiece in the Manner of the Renowned Architect Sir Robert Taylor An imposing very refined Rococo fireplace carved in white statuary marble...

A robust early Georgian chimneypiece in the style of Inigo Jones. The elegant Old English marble moulded shelf is supported by a plain header in Bardiglio marble. The jambs are in the shape of tapering pilaster columns surmounted by Ionic capitals. The simplicity of this design immediately recalls the work of the 16th century architect Inigo Jones. His designs for chimneypieces, profusely reinterpreted by Neo Palladian...

A twisted moulding runs along the simple but elegant shelf. The frieze with quatrefoil panels and foliage at centre is surmounted by an egg and dart motif. The opening is framed by f...

A Late Eighteenth Century, Pine and Gesso Chimneypiece with Fluted Pilaster Columns and a Central Tablet Depicting Venus, or Perhaps Aurora, on a Chariot With swags of the vineyard ...

A striking and quite exceptional Georgian, pine and gesso chimneypiece, the frieze carved with a musical motif that consists, amongst other things, a lyre, laurel leaves, oboes and s...

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 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...

A finely drawn, late eighteenth century, pine and gesso chimneypiece featuring a breakfront shelf and a frieze depicting a motif of crossed claret jugs and flaming torches. On the co...

A grand French mid-19th century chimneypiece carved in Carrara marble, the simple moulded shelf is supported by a frieze carved with sumptuous laurel garlands, an elegant cartouche a...

A Rare and Unusual Early Nineteenth Century Carrara Marble and Devonshire Fossil Chimneypiece A well proportioned Regency fireplace showing cabochons on the frieze carved in rare ma...

An early 19th century chimneypiece with free-standing Doric columns supporting a simple moulded shelf, a Bardiglio double moulding framing the opening and a central tablet of a water...

The present fireplace features free-standing Doric columns carved from the solid in high quality Siena marble with classically smooth, round capitals and bases resting on simple squa...

Each panel polychrome painted, decorated with Chinoiserie figurative scenes, incorporating interior and exterior settings, within a border of flowers and blue and white vases of flow...

Of perfectly proportioned form, compact and well drawn, with grounded posture and tall scrolling arms, and gentle camel back. Provenance: Aldby Park, North Yorkshire

With exceptional overall colour, and blue scagliola marble top, the extensive carving details with hugely imaginative quality in the Egyptian manner, with finely carved frieze and a ...

A Set of Six Late 18th Century Bamboo ‘Cockpen’ Armchairs, with Drop in Upholstered Seats In the manner of Linnell, c.1770. Closely related in form to the Scottish ‘Cockpen’ chair, t...

Of perfectly modest form, with a domed lid decorated with dignitaries on their horses, accompanying hounds, long tailed exotic pheasants, butterflies, all set within a landscape with...

The shaped gothic four-arched backs, with curved arms on square legs with modestly carved spandrels, with original needlepoint upholstery to the stuff over seat.

Carefully dry stripped to reveal a sensitively patinated pine surface, showing the exceptional carving at its best; the wooden top (later) with incut corners, and a moulded cavetto c...

Covered in reproduction grey ticking on light tea stained ground, with mahogany square tapering legs on original stamped brass casters. The back leg stamped with Howard and Sons inve...

Attributed to Linnell, c. 1770. A remarkably similar set was made for Shardeloes, by Linnell, in 1767 which furthers this visual attirbution; invoiced as ten ‘neat bamboo chairs with...

The powerful rosewood base, carved with waisted and knopped square, on a quatrefoil base on bun feet, supports a magnificent circular specimen marble top; extensive Grand Tour marble...

With looped and reeded backs, with carved paterae depicting the crest of the Knatchbull-Hugessen family (a known family related to Mountbattens, with extensive diplomatic and ambassa...

Of great weight and scale, and enormous impact Constructed of three graduated tiers, with robustly cast iron monopodia legs, with sheet metal shelves. Perfectly suited to a conservat...

Upholstered in matte black leather, with moulded downswept arms, and dark patinated mollasses coloured mahogany. With square chamfered legs joined by stretchers, on leather casters. ...

The circular lobed shaped with inset rose marble top, on a texturally carved pedestal base and elaborate central column.

Of great scale, with turned supports and central hanging brass rail, on casters.

All with elbow carver arms, and shaped splat back, on gently curved upholstered seat, and straight square legs with small pencil moulding. Upholstered to stitched hessian, prior to f...

The central arched cresting surmounted by a plume of feathers flanked by a scroll pediment, above twin soft bevelled Vauxhall glass plates enclosed by stepped strapwork decorated sli...

The giltwood frame with a soft lustre, each having scroll arched pediment, centred by a pronounced shell with acanthus decoration above the original bevelled plates within a foliate ...

The oval mercury mirror plate (later replacement), with faceted cobalt blue glass frame, alternating with unusually wholly gilt and shaped studs. Comparables; The Knight of Glin, Ir...

Typical of the naturalistic, free-form mirrors produced by makers such as John Linnell of London and the Booker Brothers of Dublin. A pleasingly bucolic design, wreathed oak branches...

This bucolic representation of the English countryside, animated by a hunting scene in the foreground, is characteristic of the tradition for sporting pictures that developed in Brit...

This powerful hunting scene is closely associated to the work of Antwerp-born seventeenth century painter and draughtsman Frans Snyders, widely considered the “progenitor of Flemish Baroque still-life and animal painting.” Having grown up surrounded by artists, Snyders was initially apprenticed to Pieter Brueghel the Younger (1564-1637/38), scion of a well-established family of painters. Like many of his contemporaries in Northern Europe, to complete his education he then travelled to Italy, staying mainly in Rome and Milan (1608-09). Once back in Flanders, his profile as a skilled young painter – who had refined his craft by studying the masters of Italian art – came to the attention of Sir Peter Paul Rubens (1577-1640), in whose Antwerp studio Snyders entered as an assistant in about 1610, and with whom he would go on to collaborate on a number of important commissions for years to come. In 1611, Snyders further strengthened his ties with the local community of painters by marrying Margaretha de Vos, sister to Cornelis and Paul de Vos, two artists with whom he would also regularly collaborate. Thanks to the lessons learned in Italy and in Rubens’ studio, Snyders soon achieved the ability to create rhythmic and dynamic compositions, infused with vibrant colours and powerful naturalistic effects. Centred on the theme of the still life, his market scenes and representations of richly stocked pantries and larders embodied the buoyant and confident spirit of seventeenth-century Antwerp, a trading port with a wealthy merchant class and aristocracy (Still Life with Dead Game, Fruits, and Vegetables in a Market, 1614, The Art Institute of Chicago; Still-Life with Fowl and Game, 1614, Wallraf-Richartz Museum, Cologne). Flowers from all seasons and dead game are portrayed alongside baskets overflowing with fruit, precious gilt vessels and Chinese Wanli porcelain...

This carefully observed view of Leeds Castle, enlivened by an array of figures and animals moving across its verdant grounds and medieval moat, is an important testimony of the build...

The son of a heraldic painter, Edmund Bristow was born in Berkshire in 1787 ( (1 Apr 1787 – 12 Feb 1876), and lived all his life locally in Eton, after having attended school in near...

A charming, small-scale painting of a brown and white calf.

Most likely French, c.1790/1800, painted on slate with carved giltwood frame.

A mid 18th Century mahogany Gainsborough chair, of broad and low proportions, with shaped stop rail and magnificently carved arms depicting sabre toothed beasts, with carved lion mas...