Marble Fireplaces and Mantels

Fabulous 19th century French Napoleon III marble and gilt bronze fire place mantel. Beautiful grey and white marble along with lovely carvings. Extra special!

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

An impressive and monumental piece, this large reclaimed contemporary fire surround is a rare find. The arched form is adorned with organic and finely carved feminine depictions. C...

Antique French statuary Carrara marble mantelpiece of large scale and great quality. This magnificent Napoleon III style mantelpiece is beautifully carved in the purest of white stat...

A large and imposing English William IV fireplace in pencil vein Carrara marble, with paneled pilaster jambs with twin corbel brackets supporting a long wide and generous mantel. Som...

Antique fireplace mantle in white Carrara marble, richly carved both in the pediment and on the sides, built and sculpted by hand in the 19th century for an important building in nor...

France / 1950 / fire place / Carrara marble / Baroque / Rococo / Mid-century / Vintage Fireplace in very good condition, made in France in the 20th century, in Carrara marble. A tru...

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...

This original vintage marble fireplace surround is one of a collection of 4 that was reclaimed out of a Brussels great Maison de Mait...

Crafted in France during the 1890s, this French African Breccia Marble Mantel boasts intricate carvings throughout the piece. Made from stunning African Breccia stone, this mantel is...

An English moulded bolection fireplace in Calacatta Verde marble. A scaled down version of a chimneypiece originally housed in the Officer's mess at Ch...

Fine LXVI period French fireplace mantle in bicolor hard stone. Authentic fireplace surround for bespoke interior design. Perfect imperfection...

A 19th century neoclassical Regency Statuary and Imperial Egyptian Porphyry antique marble fireplace surround, in the Egyptian Revival style. The neoclassical forms of this fireplace are the epitome of fashionable Regency taste. It features a simply moulded shelf resting above a panelled Egyptian Porphyry frieze centred by a crisply carved and bold statuary marble mask depicting Aurora, the Roman Goddess of dawn. Flanked by circular Imperial Egyptian Porphyry capitols to the end blocks, thus supporting Imperial Egyptian Porphyry tapered panelled jambs raised on plain foot blocks. The external return sections have a recessed panel with cock-beading. Shown with its original statuary marble kerb fender...

This fireplace mantle is a Classic small French Parisian apartment piece. It had some restoration work. Measures: 111 cm Exterior Width 43.70 Inch 103 cm Exterior Height 40.55 Inch 7...

A classic 19th Century Victorian Scottish carrera marble fireplace surround. A generous scalloped top shelf rests above an unadorned ...

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

Very nice antique fireplace of carrara marble from Italy! This mantle surround is in style of Louis XV and has very elegant ornaments and decoration in the front part and on the legs...

Ancient fireplace, mantle in precious white Carrara marble, hand-sculpted with central shell and wavy legs, built in France in the middle of the 18th...

This exceptional Regency style fireplace model was made for the "Salon d'Hercule " in the Versailles palace . The center of the frieze is ornated by a Hercules' head wearing the skin...

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...

Antique marble stone fireplace, 19th century. To place in front of the chimney.

This classically-designed carved stone fireplace looks beautiful in either limestone or marble. It is part of our Elizabeth Scott Fireplace Collection, designed by Elizabeth Scott D...

This is a very unique marble combination typically used in the inter war period. The shelf is made in parefeuille. Measures: 171 cm EW 67.32". 103 cm EH 40.55". 109 cm...

19th Century Victorian Marble Fireplace Mantlepiece. This Fireplace Surround Is English Made And Hand Carved From Italian Carrra Marble. Da...

This mantel is of the highest quality and it is in perfect condition. The details of the carving reflects the wealth of the former master. This fireplace surround was installed in a ...

Extraordinary 19th century French Bleu Turquin Louis XV style carved marble mantel. Decorative carvings and exceptional veining on this piece. A true work ...

Antique French fireplace in deep black Belgian marble Lovely petite Louis XV style fireplace great deep black coloring and friendly decorations. Nice sculpted shelf...

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...

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

This exceptional Regency style fireplace model was made for the "Salon d'Hercule " in the Versailles palace . The center of the frieze is ornated by a Hercules' head wearing the skin...

Nice fireplace mantel from marble to place in front of the chimney.

An early 19th/ late 18th century Dutch fireplace mantel in the Louis XVI manner. The nice mantel has great proportions and is wonderfully decorated in "V.O.C." style. It superbly c...

A large Louis XIV style antique French fireplace in a pale creamy Carrara marble. The mantel wide, deep and generous with a tiered moulding sitting above a bolection moulded frieze w...

A late Regency style fireplace made from Italian Statuary Carrara marble. handcrafted in our Northern Irish workshop from imported Italian Statuary Carrara marble, faithfully copied ...

Crafted from luxurious Portor marble and designed in the timeless Louis XVI style, this French-made mantel exudes elegance and sophistication. Dating back to the 1880s, its low line ...

Handsome 19th century French Louis XVI grey marble mantel. Adds a real touch of elegance! Circa 1880 57w x 15d x 43.5h

A quality revival marble framed fireplace made from white sculpted marble with red marble inserts, the piece being accurately cut and highly detailed with fluted relief carving, urn...

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...

This is a large monumental fireplace. An English, Blanco marble fire surround with neoclassical taste by the renowned Devonshire sculptural artist...

A large 19th century British Swaledale marble fireplace surround in soft mushroom tones with many different types of fossils, a substantially deep shelf sits above an unadorned friez...

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 ...

A Baroque Bolection Fireplace in Italian Brescia Violette Marble Measures: Depth 4 1/2 in (115mm) External height 45 3/4 in (1162mm) External width 52 in (1320mm) Internal heigh...

This nice Pompadour antique fireplace mantel-surround, in a very rich marble, was original installed in a corner in a panelled room in Bruges. Fine architectural element from the 19t...

A large carved corbel Victorian fireplace in Statuary white Italian marble circa 1860. The wide and generous shelf with an ogee moulding to the edge, sitting above a frieze with plai...

A large and imposing Victorian arched fireplace carved in white statuary marble. The massive plain moulded shelf is supported on twin scroll...

Antique Dutch fireplace mantel to place around the chimney from the 19th Century.

Exquisite 19th century period regency style fireplace surround reclaimed in the city of Ghent, Belgium. A classic French style mantle with deep side pieces. A real work of art; see t...

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 ...

A fine French 19th-20th century Louis XVI style veined grey and white marble fireplace mantel surround, surmounted with a pair of cylindrical marble columns and an edged frieze, Pari...

French antique Louis XVI fireplace mantel in white Carrara marble. Strong and well profiled stepped topshelf above a finely carved paneled frieze with beautiful laurel leaves flan...

This fireplace surround captures the essence of the Louis Philippe period from the early 19th century with its minimalistic and elegant design. Crafted in French marble stone, it fea...

Phenomenal original antique fireplace surround in Arabesco marble from the regency period from the city of Antwerp. One unique city palace mantle piece. Regency period, 18th century....

This large Regence style fireplace was made of Breccia Nouvelle marble in the late 19th century. Its entablature adorned with spandrels is underlined with an oblong moulding. It lay...

A large period pair of Louis XV fireplaces executed in superior quality Breche Violette marble. The jambs with deep side returns retaining their original brass vents, the front pan...

A large Victorian arched fireplace in pencil statuary marble. The fireplace features a wide moulded shelf over an arched opening carved with panelled spandrels. The boldly carved acanthus corbels...

A very good quality English Regency period fireplace executed in Italian Statuary white marble. The jambs with fluted columns stood on square foot blocks with carved Ionic capitals, ...

A 19th century Regency style fireplace in veined White marble and Belgian black fossil marble. Architectural in design, with Belgian place panels within white marble mouldings...

Phenomenal mantel from Jules Cantini. The marble is called the Jaspe Du Var Rose. In the right panel you see a seal from the world known Jules Cantini workhouse. The Cantini museum i...