Marble Fireplaces and Mantels

An unusual and imposing French Louis XVI style fireplace Breche d'Alep marble and Statuary white marbles. The carved fluted and scrolled console jambs with carved stars to corner blo...

Richly carved 19th-century trois coquilles mantel in Arabescato marble. This fireplace is entirely crafted in marble, featuring a central shell ornament adorned with scrolls and acan...

An exceptional Louis XV Rococo fireplace in dramatically figured breche violette marble of grand proportions. This is perhaps one of the most magnificent French Rococo chimneypieces ...

Louis XVI Style Yellow Sienna Marble Mantel circa 1880 Dimension of the heart : 92 x 106 cm

A fine eighteenth century George III chimneypiece in statuary marble. The solid reverse breakfront shelf sits above a frieze which is delicately carved with a stylised foliate design...

This is a very special piece in style of De Coene Frères, Belgium, 1960s. Shows absolutely stunning graphical patterns on its doors. Squares, crosses, triangles and diamonds are comb...

Antique Italian Carrara marble mantel in the Venetian Renaissance style. The jambs with rope twist Corinthian columns supporting large acanthus br...

An elegant antique chimneypiece in Statuary White marble, and inlaid Convent Sienna. The jambs having delicately carved panels of ribbon tied bell drops, scrolls, foliage and oval Pa...

A stunning Louis XV-style mantel, crafted from Sable Black Marble (Noir de Sable) in France during the 1880s, exudes timeless elegance. Its molded pilaster legs, shaped in graceful c...

The chimneypiece bears a center tablet that closely resembles that by Robert Adam in the library at Kenwood House, the overall form echoing his work in its detail and in the quality ...

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 & Elegant English Georgian Bolection Fireplace Surround in Italian Grey Brescia Marble Depth: 4 1/2″ – 11.5 cm External Height: 46 1/4” –...

Louis XV Style Fireplace In Rance Marble, Circa 1880 Dimensions of the hearth: 84.5 x 108.5 cm

A very rare and important English 18th century (circa 1760) statuary and sienna marble fireplace with highly detailed carved centr...

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 ...

Antique 19th century Louis XVI French Rouge and Carrara marble fireplace mantel. Beautifully veined marble fireplace mantel creates a f...

A beautiful French 19th century marble fireplace mantel. The mantel is raised by elegant jambs with finely mottled supports and most deco...

Unique art nouveau heater cladding / fireplace cladding. Impressive and antique Art Nouveau fireplace / heating panel. White marble with gray mottled structure. Original Art Nouveau...

A large and grand antique Statuary marble fireplace dating to the 1850’s. Each pilaster with two full rounded and free standing Corinthian columns th...

A very fine chimneypiece with a striking simplicity of form, reminiscent of the work of Sir John Soane.Carved from dramatic dove grey Bardiglio Fiorito marble, the wide stepped shelf...

A large Victorian Carrara Marble fireplace surround. This early Victorian Carrara marble corbel fireplace features an elegantly moulded shelf that is supported by intricately carve...

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...

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...

Dutch Louis XIV style wooden mantelpiece with overmantel, crafted from carved oak and pine, dating back to around 1740. Originally from an Amsterdam canal house, this piece features ...

Flama Outdoor Fire Pit The ultimate complement to warm up your outdoor areas and bring them coziness during the colder days without compromising its elegance! The whole design of t...

Original reproduction of the 18th century French marble fireplace coming from the dining room of the « Chateau de Balleroy » , Louis XV style.

Beautiful, authentic Louis XIII style mantelpiece, made from the rare Fleur de Pêche marble. This elegant mantelpiece dates back to the early 19th century and has been carefully pres...

A 19th century French marble fireplace in the Louis XV style. The panelled frieze with shell to carved centre, with scrollwork throughout, the carved jambs with stiff acanthus leaves...

A white marble fireplace in the transitional French LXIV / LXV style. The shaped, panelled frieze with heavy inner moulding and elegant, shaped jambs below. Moulded shelf above. Mid ...

Antique fireplace in white and "Verde Alpi" inlaid marble. Lateral columns, embossed front and coeval threshold. handmade, 19th century, from France. Superb elegant fireplace with a ...

Description: Carrara marble fireplace. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL Indicative shipping costs in Italy: 550€ ...

This surround was reclaimed from a property in Ascot, UK. It features carved Sienna marble end blocks and fluted Sienna frieze and jambs. Opening Height 90 cm (35.43 in) Opening Wi...

An impressive, antique Regency chimneypiece carved from fine Statuary Marble. Delicately carved details are seen throughout. A deep profile urn with overflowing florals adorns the...

This very early 18th century Italian travertine marble fireplace was sourced from a property in Kensington and removed during remodelling. It features an elaborate design, the frieze...

Beautiful antique marble fireplace mantel from the 19th century. To place in front of the chimney. Recuperated from a mansion near Paris, France.

Beautiful exclusive antique fireplace made of Carrara marble from Italy! This 19th century fireplace is in the style of Louis XV and richly decorated with various ornaments in the fr...

Large Fleur de Pêche marble and ormolu antique fireplace French, 19th Century Height 121cm, width 188cm, depth 63cm This stunning fireplace combines unusual Fleur de Pêche marble with sculptural ormolu mounts. The fireplace consists of a panelled frieze, below which is the wide serpentine opening. The twin jambs are canted in form, and are supported by footblocks. The use of the historic Fleur de Pêche marble is particularly pleasing: featuring deep veining in a palette of cream, purple, and brown, the marble was highly popular for opulent 19th century design, adorning elite interiors such as the main hall of the Napoleon III apartments in the Louvre. The fireplace is adorned with several ormolu mounts. A large Rococo scallop shell form decorates the centre of the marble frieze, trailed by acanthus leaves. The upper sections of the jambs are applied with female terms, whose bodies dissolve into further acanthus-style forms. The bottom sections also feature gilt-bronze decoration, with further scallop shell designs. The fireplace also features a cast-iron inset, decorated with geometric designs. The fireplace clearly takes inspiration from the Rococo-style fireplace in the Council Cabinet in the King’s Apartments at Versaille, which was designed in the late 18th century by Jacques Verberckt and Jacques Caffiéri. Whilst the deep red marble of the Versailles fireplace...

Important early 19th Century antique fireplace in Statuary Carrara marble with quiver-shaped columns and gilt bronze ornaments. Its original provenance is Chateau de la Gesse - Boul...

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 French Red Levanto Marble Mantel is an exquisite piece of craftsmanship from 1870s France. With its bolection style carvings, it adds a touch of elegance to any room. Made from ...

Louis XVI fireplace in gray Ardennes marble, Restored shelf : see pictures Dimensions of the hearth: 96.5 x 140 cm

Marble 19th century fireplace mantel in black absolute marble with carved decorative details. Mantel (fireplace) comes in three pieces. Measures: Legs are H 26" x W 8" x D 3.5", top ...

A large early 18th century French Regence carved brown marble mantelpiece with a large carved shell. This mantel is made from an extinct and very unusual marble. It is a great size a...

Very beautiful fireplace to place around the chimney.

A white statuary marble neoclassical fire surround inlaid with classical vases, vine leaves and fruit with colored marbles. England, 20th c...

This beautifully ornate fireplace, hand-carved in the Louis XV style, is made from semi-polished White Carrara marble. It features delicately-carved floral details on both the lintel...

Louis XV style fireplace in Carrara marble, circa 1880 Hearth dimensions: 79.5 x 115cm

A Superb and Rare George III, Neoclassical Siena and Statuary Marble and Painted Pine Fireplace with Porphyry and Antico Verde Faux Marbles Circa 1785–95. Inset with painted polychr...

This hand-carved French style marble fireplace mantel showcases exquisite craftsmanship and timeless elegance. Made to order, it allows for customization to suit your space, with opt...

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...

Truly unique Petite Portoro Fireplace, delicious bottle of Cremant is sadly not included... This lovely petite mantel came from a countertop in the ...

A charming and imposing Louis XV style antique Rococo chimneypiece in Fleur de Pecher Marble with exceptional ormolu mounts by Francois Linke (1855-194...

This impressive antique fireplace surround has been expertly carved and crafted from statuary marble. The ornate fireplace is a true masterpiece, with its intricate carving and deli...

Antique, rich, hand-carved Trois Coquilles mantelpiece in red marble, with gray and white accents (campan rouge marble). dimensions: h 116 x w 166 x d 20.5 to 38.5 cm internal dimen...

A large elegant heavy marble fireplace surround with thick fluted details , scalloped top , in grey ardenne stone with great veining and excellent overall presence .thux ux a quality...

A superb Italian 17th century Breccia Pernice red marble fireplace with later black marble foot blocks to the jambs. Originating from Italy circa 1680, this antique fire surround is...

A stylish Italian fireplace in Italian Arabescato marble. Moulded frieze and jambs of architectural form. A copy of an original chimneypiece. N.B. May be subject to an extended lead...

Louis XIV style fireplace in levanto marble fireplace dimensions: 89.5 x 117cm

Very nice antique fireplace of the 'black gold' Noir de Mazy marble. Noir de Mazy fireplaces are one of the most popular styles of fireplaces. The quarries in Belgium where this marb...

Very beautiful and exclusive antique fireplace of Saint Remy marble from Belgium. This type of marble has a warm color nuance and the beautiful chiseled ornaments give this fireplace...