Fireplaces and Mantels

A large antique Georgian style painted pine fire surround by Well Fire Co. Left in its original distressed paint finish, this fireplace could be stripped and refinished as desired. ...

A period George III late 18th century fireplace in Kilkenny marble. Architectural in design with simple jambs stood on square foot blocks, supporting a long frieze with plain centre ...

This is a Georgian revival marble fireplace. An English, fire surround with mantelpiece in the classical taste by Dominic Hurley, dat...

An exceptional antique carved white statuary marble chimneypiece from the late Georgian period. With full free standing and fluted ionic columns under carved putti corner blocks. A substantial egg and dart cornice shelf...

This exquisitely-carved, deep green marble fireplace, done in the style of the classical Georgian period, would be a perfect focal point for an elegant Study, Library, or Living Room...

19th Century Georgian Pair Of Cast Iron Fireplace Insert Panels. Splayed Slips With Recessed Panels Showing Typical Decorative Features Such As Swags, Urns With Floral Patterns Used ...

A very well proportioned 19th Century manner lightly veined Statuary marble bullseye fireplace surround. A reeded top self sits directly ab...

A large and inherently grand late 19th century finely carved walnut fireplace surround in the Georgian manner. A substantial moulded and carv...

Large Double-Slip Georgian Style Fireplace Surround in finest quality Italian Violette Brescia Marble. Measures: Depth: 8” – 20.3 cm External Height...

Antique Georgian Neoclassical Style White Painted Fireplace Mantel w/ Wedgwood Plaques. Item features 3 English "The Dancing Hour" Wedgwood Blue Jasperware plaques with a white paint...

A late 18th century George III period Irish Chimneypiece executed in Statuary white and Convent Siena marbles. The shelf with a typically Irish moulded edge. The frieze having a carv...

A stylish and fashionable fireplace design produced in white statuary marble. The fireplace has a moulded bolection frame on plain plinths, with a stepped cornice shelf...

A Highly Important Empire Period Rosso Antico Chimneypiece Inset with Specimen Marble Portrait Reliefs of Roman Emperors The carved and veneered surround comprising a moulded shelf supported by a bold dentil cornice, above an inverted breakfront frieze carved with a central triglyph panel, flanked by a pair of rosettes carved in shallow relief, the frieze mounted with six carved hardstone profile portrait medallions of Roman Emperors, the stop-fluted jambs raised on moulded footblocks; in excellent condition with small restorations commensurate with age and use; the pale inclusions in the stone naturally formed. This spectacular neoclassical marble chimneypiece is carved from Rosso antico, the frieze inset with six portrait reliefs of Roman Emperors, each carved in marmo giallo on a bardiglio background, five variously incised: VESPASIANUS, TIBERIVS, OTHO, JULIUS CAESAR, TITUS. Rosso antico (marmor taenarium) is first recorded as being quarried in 1700 BC at Akra Tainaron (Cape Matapan), Greece.¹ The majority of this stone, however, was extracted throughout the Roman period, when it was one of the most coveted materials for carving due to its rich red colouring and association with highly prized Egyptian ‘Imperial’ Porphyry.² Rosso antico was chosen in antiquity for portrait busts, notably depicting Bacchic subjects such as Dionysus and satyrs due to its rich red wine colour which symbolised conviviality whilst conveying the education and cultivated taste of the owner.³ In the Renaissance, Rosso antico was also used for architectural detail on important buildings, such as the steps leading up to the choir in the medieval church of S. Prassede, and the large columns at the entrance to the Camera dell'Aurora.⁴ In 121 AD, G. Suetonius Tranquillus, secretary to Emperor Hadrian, wrote a biographical history of the first twelve emperors of Rome entitled De vita Caesarum (The Twelve Caesars). A Renaissance edition of Tranquillus’ work was published in 1470, followed by further reprints and translations into all the main European languages. Many of these were illustrated with prints of emperors taken from coins and statues, or imagined by the artist based on Tranquillus’ accounts. These interpretations were copied, in turn, by Renaissance designers for medals, Limoges enamels, and busts, as well as paintings such as the Eleven Caesars, a series of eleven half-length portraits of Roman emperors made by Titian in 1536–40 for Federico II, Duke of Mantua.⁵ These paintings were later given to King Charles I, before being passed in the Commonwealth to the Kings of Spain. Unfortunately, the series was destroyed in the catastrophic fire of 1734 at the Royal Alcazar of Madrid, and is now only known through copies and engravings.⁶ From the middle of the 17th century until the end of the 18th century, there was an insatiable demand for marble carvings, often sold as Roman or assembled from ancient fragments, thus perpetuating the reverence for antiquity that was the quintessence of the Grand Tour. Rosso antico was in extremely short supply, even after the ancient quarries at Skutari were rediscovered in 1830, and remained one of the most highly valued of all stones. Described in 1776 as ‘dark red; scarce and dear’, it was mostly used for small objects such as Grand Tour desk ornaments, inevitably using material re-cut from classical fragments, due to its rarity, as was the case with porphyry.⁷ The portrait roundels on this chimneypiece are typical of those produced in Rome and Florence in hardstones, semi-precious stones, gold, silver, bronze, and mother-of-pearl, which, being easily transportable, would be taken home from the Grand Tour to be mounted within wooden, gilded or brass frames, as fashion dictated.⁸ A group of gold portraits of Caesars, dating from around 1660, are in the Museo Nazionale del Bargello in Florence. Images of Roman emperors were not limited to Italy, England and France, however, as examples executed in Deshima for the Dutch East India Company (Verenigde Oost-Indische Compagnie) show. Medallions depicting Roman emperors, invariably made of black and gold Japanese hiramakie or takamakie lacquer on copper, were produced for the Dutch market at the end of the 18th century. Examples can be found in the Rijksmuseum, Amsterdam.⁹ There are two possible sources for the Imperial profiles on the chimneypiece: the engravings of The Twelve Caesars by Marcantonio Raimondi, or the Imperatorum Imagines by Hubert Golz.¹⁰ The portrait medallions also bear remarkable resemblance to a set of eighteen carved portrait reliefs of Roman Emperors, also of marmo giallo, almost certainly bought by David Ker (1742–1811) of Portavo, Co. Down, on his Grand Tour between 1792–4 in either Florence or Rome. Ker’s diary entry for 17th October 1793 is interesting as it reveals that he was offering his brother a choice of chimneypiece designs, which further supports a Roman origin for the offered example.¹¹ Indeed, fire surrounds incorporating antique fragments had been promoted from the late 1760s by Giovanni Battista Piranesi (1720–78), encouraged by Rome-trained architects including Robert Adam (d.1792). One such example, inset with mythological tablets carved from Rosso antico, was acquired by the 9th Earl of Exeter from Piranesi himself for Burghley House.¹² Another can be found at Islington House, Dorset.¹³ A third, inset with giallo antico and Rosso antico, follows Piranesi’s engraved design dated 1769 for a fire surround mounted with three marble portrait reliefs.¹⁴ It should be re-emphasised that Rosso antico was so precious that it was only ever used for small tablets or details rather than an entire chimneypiece, as with the offered example; likewise, while portrait reliefs are occasionally seen on the jambs of Italian surrounds, it is exceptionally rare to see the frieze mounted with a group, especially of this scale: the combination indicates an architectural commission by an extremely wealthy patron. The sophisticated lines of this chimneypiece epitomise the French Empire influence on the Italian states at the turn of the 18th century. This idiosyncratic ‘Roman’ taste is encapsulated by that of Napoleon, who identified with Rome’s Imperial past. Napoleon’s desire to establish a visual link between himself and Roman emperors is demonstrated by the portraits of his court painter, Jacques-Louis David, inspired by portraits of Emperor Augustus. This Imperial taste extended to architecture, furniture and porcelain, the latter two of which are combined in a group of magnificent ormolu-mounted guéridons commissioned in Sèvres between 1803–11, made to immortalise Napoleon’s reign.¹⁵ The second guéridon in the series, the Table des Grands Capitaines (Table of the Great Commanders of Antiquity), commissioned in 1806, is made almost entirely of hard-paste Sèvres porcelain. The top, painted in imitation of sardonyx, is centred by a portrait cameo of Alexander the Great, surrounded by twelve smaller heads of commanders and philosophers from antiquity: Pericles, Scipio Africanus, Pompey, Augustus, Septimus Severus, Constantine, Trajan, Caesar, Mithridates, Hannibal, Themistocles and Miltiades.¹⁶ Louis XVIII presented the table to the Prince Regent (later King George IV) in 1817 as a token of appreciation for Napoleon’s defeat two years earlier, and George IV treasured it so highly that it became part of the ceremonial backdrop for all his state portraits. The table remains in the Royal Collection.¹⁷ This chimneypiece remained, until recently, in the possession of a noble Dutch family, who acquired it from the owners of a bombed Knightsbridge house in the 1940s; unfortunately, its provenance prior to this has been lost. The use of Rosso antico on this scale, inset with these splendid Imperial profile medallions, appears unparalleled. 1. J. B. Grossman, 'Looking at Greek and Roman Sculpture in Stone' (Los Angeles, 2003). Grossman states that this material was ‘...quarried in three places during antiquity: on Cape Tainaron present day Matapan on the Peloponnese of Greece; on Crete; and at the site of Iasos in Asia Minor. 2. L. Lazzarini, ‘Rosso antico and other red marbles used in antiquity: a characterization study’, Marble, Art Historical and Scientific Perspectives on Ancient Sculpture’ (1990), 237–252. C. Gorgoni, L. Lazzarini, P. Pallante, ‘New archaeometric data on Rosso antico and other red marbles used in antiquity, ASMOSIA VI, Interdisciplinary Studies on Ancient Stone’ (2002), pp. 199–206. J. Deér, trans. G.A. Gilhoff, The Dynastic Porphyry Tombs of the Norman Period in Sicily (Cambridge, 1959), p. 144. R. Gnoli, Marmora Romana (Rome, 1988), pp. 187–191. 3. A notable example is a satyr from the Emperor Hadrian's villa at Tivoli, now in the Capitoline Museum, Rome. Another is the head of a satyr in the Minneapolis Institute of Arts, accession no. 2006.110. See T. Opper, Hadrian. Empire and Conflict (London, 2008), p. 165, fig. 149. 4. De Luca, Marmi antichi (Rome, 1998), p. 126. Faustino Corsi, Catalogo ragionato d’una collezione di pietre di decorazione (Rome, 1833), p. 93. 5. For related Limoges medallions, see set of ten circular Limoges enamel medallions depicting Roman emperors, en grisaille with gilding, from the workshop of Jacques I Laudin, sold Christie’s London, Fine Renaissance Bronzes and Works of Art, 19 December, 1977, lot 95. 6. See set of drawings sold Sotheby’s London, Of Royal and Noble Descent, 24 February, 2015, lot 184. 7. J. J. Ferber, Raspe’s Travels through Italy in the Years 1771–1772 (London, 1776), p. 218. 8. See Sotheby’s London, Pelham, the Public and the Private, 8 March 2016, lot 75: ‘A set of twelve mother-of-pearl cameos of Roman Emperors, Southern Italian, early 19th century’ 9. Oliver Impey, Christiaan J.A. Jörg, Cynthia Viallé, Japanese Export Lacquer 1580–1850 (Amsterdam, 2005) pp. 48–57, no. 56 & 57. 10. For a further reference, see the candlesticks by Jacques I Laudin in the Waters Art Gallery, illustrated in P. Verdier, Catalogue of the Painted Enamels of the Renaissance (Baltimore, 1967), p. 389, nos. 207 & 208. 11. John Ingamells, A Dictionary of British and Irish travellers in Italy 1701–1800 (London, 1997), pp. 572–3. 12. Oliver Impey, Four Centuries of Decorative Arts from Burghley House (Virginia, 1998), p. 53, fig. 23. 13. Country Life, 12 June, 1997, p. 162, figs. 9–11. 14. A. González-Palacios, Il Tempio del Gusto, Roma e il Regno delle due Sicilie, Vol. II (Milan, 1984), pp. 592–93, p. 260. 15. S. Grandjean, 'Napoleonic Tables...

An 18th century antique Georgian pine fire mantel with stripped finish, ready for paint, stain or wax. Dating from circa 1780, this fire surround has stood the test of time for more ...

Very fine early 20th century Georgian style mantel, having floral carved egg and dart molding over bolection molded opening having applied composition decoration with foliate sprays and scrolls, now stripped. Removed from a prominent Westchester home designed by Mott Schmidt...

This is one of a kind fireplace surround in Carrara marble was made by special order for the Castle of Fontainebleau. The identical but in grey mantel was ...

In original cast iron antique Georgian Hob Grate insert, with lion masks to the capitols and a central stylised flower, English, circa 1830.

A simple and elegant Georgian farmhouse style pine fire surround circa 1800 with a stripped finish; ready for painting, staining or waxing as desired. Though over 220 years old, this...

21st Century Black Marble Mantlepiece. This English Made Unique Fireplace Mantelpiece Is Made From Deep Italian Nero Marquino Marble With a Polished Finish. The Design Is Based On A ...

An antique Georgian style pine fire surround. At over 120 years old, this fireplace is evocative of classic Georgian styling, detailed with carved foliage designs to the frieze and e...

An elegant, and quite large wooden fireplace surround in the Georgian manor in rich home grown Scottish figured oak. The frieze of bolection ...

An unusual English 19th century large fire grate. The pierced guilloche fret with cut steel buttons, surmounted by shaped front bars. The curved wrou...

An antique late Georgian or Regency period painted pine and gesso/composition fire surround. Dating to circa 1820, this stunning fireplace is an original of the English Georgian and ...

An early 19th century Empire period Statuary white marble with ormolu mounted fireplace. Very fine quality marble and ormolu, with demi lune shaped shelf, frieze and jambs. The friez...

A small 19th century Georgian Scottish Carron of Falkirk cast iron fireplace insert. An outer rim plate hosting arched reeded moulding with corner blocks of flowers, resting on moulded foot blocks, the tapered side panels of further reeding supporting the three polished front bars with spaced balls...

Antique Polished steel fire grate in the Georgian manner. A shaped cartouche back plate with a high relief half sphere, this in turn connects to...

Baroque Bolection Chimneypiece in Italian white statuary marble fireplace A Baroque style Bolection fireplace surround of bold proportions with very finely carved columns with a ris...

An antique Neoclassical style carved pine fire surround. Dating to the late 19th century, this fireplace has stood the test of time across the centuries. It is beautifully ornate, c...

An imposing period Georgian fireplace in Calacatta Oro marble. The barrel frieze with foliage and berries throughout, tied with cross banded ribbons to c...

This original vintage fireplace surround is a one of a kind chimney piece. A real eyecatcher. It is influenced of the wars by Napoleon to Egypt. The mantel is in perfect condition a...

A fine Irish veined statuary marble fireplace. The richly coloured inlaid centre tablet and side blockings in the manner of Pietro Bossi, with urns, bellflowers and foliage. Fluting ...

A well cast antique Scottish cast iron fireplace insert probably by Carron of Falkirk. A framed and beaded border with panels of tied ribbon and tassel with crossed flaming torches, ...

This is a large antique decorative firedog. An English, cast iron fireplace andiron, ideal for large candles, dating to the Georgian period, circa 1800. Appealing fireside decor ...

An antique English Georgian hand-carved pine fireplace dating from circa 1800. Having stood the test of time for more than 220 years, this antique fireplace is a highly decorative fe...

This 18th century neoclassical Adam style carved pine mantlepiece features a carved and gilded urn and scrolled foliate decorated frieze.

An antique natural pine Georgian bullseye fireplace. Though the design is simple, this antique pine surround speaks volumes in an interior, ornamented with round details called ‘bul...

A very fine Antique English early 19th century Geo. IV period pierced brass fireplace fender with traditional "ivy" pierced motif and a nice gadroon or rope type central bolster. Ima...

An antique Georgian style pine fire surround carved with neoclassical elements. This large scale fire surround will make a beautiful feature of properties old and new alike with its...

A large, rare and elegant early 19th century 1810c Scottish (Edinburgh’s New Town) Georgian Statuary marble fireplace surround. A generous square edged top shelf sits above a stepped...

This Empire-style fireplace is made of Rouge Griotte marble, known for its deep color and highly prized under Napoleon I. The gilded bronzes that adorn the fireplace are attributed ...

19th century Georgian cast iron Hob grate fireplace A Fabulous conditioned original antique Georgian half hob grate fireplace insert with cast orn...

The frieze centred with a carved centre tablet with a sphinx mounted urn and ribbon tied swags flanked by inlaid roundels and swags, the end blocks carved with drapery hung urns with...

A large scale original late 18th/early 19th century Georgian English York stone fireplace circa 1800. Carved by hand into York stone, this antiqu...

Empire style fireplace in antique green marble and gilded bronze Hearth dimensions: 85 x 102 cm

21st Century Nero Portoro Marble Bullseye Surround. The Georgian Design Has Been Faithfully Reproduced From Antique Nero Portoro Marble. With Hand Carved Demi Lune Panels To Its Cent...

A very attractive original 19th century Scottish carved pine fireplace surround. A corniced double top shelf sits above a through frieze, the egg and dart frieze cornice hosting a central tablet displaying a well carved flowering swag, flanked by further tendril- leaf's and a pair of corbels...

A large antique steel fire grate. Lovely and impressive formal piece that would work great in a larger mantel. It has some lovely decorative and traditional urns on top of tapered...

English brass gallery and tan leather club fire place fender with a molded edge base, Early 19th Century

A large and opulent early 19th Century Georgian manner fireplace surround well carved in Statuary & Sienna marble reminiscent of the style after William Chambers. This truly remarkable piece features a beautifully carved central tablet depicting a foliage motif with a centralised urn. The aperture of this impressive fireplace is surrounded by sienna marble in-grounds displaying beautiful tones of this exotic and sought after marble. The frieze is flanked on either end by capitals displaying high relief urns...

A very large Scottish Georgian early 19th century statuary marble fireplace surround originally from Edinburgh's New Town. A generous square edged top ...

A 19th Century Georgian manner polished steel fireplace insert. A generous polished outer plate with an applied raised lambs tongue moulding, encompassing a central tablet with a pro...

A Baroque Bolection fireplace mantel in Italian Pavonazzo Marble A Baroque style bolection fireplace surround of bold proportions with very finely carved columns with a rising ogee ...

Unique fireplace produced under license from Kenwood House Hampstead, London. Finely detailed vines bearing clusters of ripe grapes clamber up the jambs and across the frieze of the ...

A large polished steel fire dog crate in the Georgian manner by the Carron foundry in Scotland. The tapered front legs surmounted by beaded edging and finial...

An antique pine and composition painted fire surround. This sophisticated antique fireplace will make a stunning chimneypiece in any setting, bringing the fine elegance of Georgian s...

English Georgian Pine Classical mantle with original carved gesso, foliage, and medallion motif. Late 18th Century. Overall measurements- 67.25" Wide at top / 7.25" Deep at top /...

A versatile Scottish Georgian Manner Cast Iron Hob Grate fireplace insert by the renowned foundry Carron of Falkirk. A generous outer pla...

A large Scottish late Georgian 19th century statuary marble fireplace surround originally from Edinburgh’s New Town. A generous square edged top she...