Marble Fireplaces and Mantels

An opulent Louis XV period fireplace mantel masterfully carved in richly colored San Giorgio Breccia marble, dating to circa 1740. This exquisite example of Rococo craftsmanship feat...

A finely carved Italian limestone fireplace with female caryatid figures and shaped frieze with elegant acanthus leaves decoration.  

Made from veined Carrara marble and white statuary marble. The centre plaque with a well carved mask of Apollo surrounded by a sunburst. The console jambs are under fluted corbels...

An English bolection fireplace with moulded shelf above. Shown in Italian Arabescato marble, could be made in other marbles or limestones if required. English, modern. N.B. May be su...

Amazing antique white Carrara marble fireplace mantel with three incredible terracotta busts, very unique and maybe one of a kind. The bust on the left looks to be a military leader ...

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...

A distinguished and gracefully sculpted Louis XV-style fireplace mantel, originating from France circa 1850, this exquisite piece embodies the opulence and fluidity of the 19th centu...

A mid-19th century French Louis XVI style fireplace in Breche Violette marble. The shaped, stop-fluted jambs surmounted by carved square paterae...

Cheminée de style Régence en marbre de Rance, XIXème siècle Dimensions of the fireplace: 80/86 x 94,5cm

Antique and Precious mantel fireplace, constructed of French Red marble with beautiful light white veining, The frame features carved geometric moldings with space for central coat o...

A Regency period marble fireplace with reeded jambs, plain frieze and roundel detail to corner blocks. Stepped plinths to meet the hearth. Internal width: 35.5" Internal height: 38"...

A Stylish & Elegant English Queen Anne Style Bolection Fireplace Surround in Nicely Veined Italian Arabescato Marble, with a Deep Shelf. External Width: 57 3/4″ – 147 cm Depth: 7″ –...

An antique bolection marble fire surround. This striking Belgian black marble fireplace was reclaimed from a large house in North London. The marble...

This timeless elegant 19th century fireplace is made of the rare marble Noir de Mazy marble, the deep black Belgian marble known for its luxurious appearance. Executed in the refined...

A French handcrafted, circa 1880-1890 fireplace surround in ‘Rouge de Rance’, a rare red marble with subtle white or grey veining. This Classic style an...

A grand and imposing Victorian fireplace in dramatic portoro marble, with rare and beautiful Cornish serpentine columns. The fireplace's inverted breakfront shelf looms over an under...

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...

A very exclusive antique fireplace of Sainte-Anne belge marble from Belgium. The fireplace is in the style of Louis XV.

Elevate your living space with this Antique French Statuario Marble Mantel. Made from stunning Statuario marble, this 1850s reclaimed piece boasts striking black veining and intricat...

A very fine period neoclassical English Statuary marble fireplace with Siena inlay. The carved jambs with classical urn surmounted by ribbons and drapery, with Siena marble ingrounds...

Louis XV style fireplace in Carrara marble circa 1880 Hearth dimensions: 83 x 105.5 cm

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

Absolute exquisite fireplace mantel in marble. It's a one-of-a-kind piece made from a stunning combination of Bleu Turquin marble and Blanc de Carrara marble. The craftsmanship is tr...

This Louis XV rouge royale marble mantel was imported from Europe by Danny Alessandro & Edwin Jackson Mantel Company - a fine mantel dealer that specialized in fireplaces and man...

Napoleon III style Fleur de pêcher marble mantel. Fleur de Pêcher marble is a historic marble, used a lot during the 19th century to make exceptional works of art. For example the ex...

Louis XV style fireplace in Rance marble fireplace dimensions 100.5 x 101cm.

An antique French Art Deco period marble fire surround. Constructed in Campan green and white statuary marble, this unusual fireplace showcases a carved centre tablet and fluted jamb...

Louis XV style fireplace in Rance marble fireplace dimensions 92 x 105.5 cm.

This beautiful French 19th century Louis XVI mantel features pristinely gilded bronze mounts with ribbons and a floral design. The mounts contrast quite well against the marble’s lig...

This petite Louis XVI Regency style mantel is carved out of burgundy marble with striking white and gray veining. An infinity chain of hand carved overlapping circles decorates the a...

Provenance Ex. Christopher Gibbs and thence Nigel Bartlett, advertised April 20th 1995 Previously Advertised by Spink & Son Ltd of King Street SW1. A rare and unusual George II, Palladian fireplace in variegated Breccia Violette marble decorated in contrasting statuary marble. The exceptionally fine naturalistically carved centre tablet bared a basket of fruits and flowers, attributes of spring personified and abundance. The jambs, executed in the style of Sir Henry Cheere...

Antique marble fireplace mantel to place around the chimney from the 19th Century. See the last picture for extra dimensions.

An antique Statuary and Connemara marble fireplace from the late Georgian period. The white Italian Statuary Carrara marble frieze is inlaid with Irish green Connemara marble forming a continuous Greek key pattern. The flanking square end-blocks are finely carved with neo-classical decoration, these upheld by the tapering console...

A large, rare and imposing late George II English Rococo chimneypiece with strong Palladian influences carved in white statuary marble and inlaid with panels of Verde Antico marble. ...

A Louis XVI style Carrara marble and ormolu mounted fireplace, the shaped and moulded shelf above frieze centred by fluted panel adorned with trails of foliage and ribbons, the pater...

A magnificent and large palatial antique French Louis XVI style white marble and gilt bronze mantle. The structure is composed of rectangular white marble blocks with a stepped corni...

A magnificent finely carved statuary William IV chimneypiece. The moulded shelf sits over a finely carved continuous frieze with central acanthus bloom, harebells and foliage details. The foliate and berry corner blocks, set over scroll and flower in relief. The jambs echo the finely detailed frieze with anthemion, harebell and floral motifs. The inner moulding framing the opening in fine carved lambs...

A stately English Regency period fireplace mantel crafted from lustrous black Belgian marble, adorned with classical gilded bronze fluted columns and Ionic capitals. Dating to circa ...

Antique mantle fireplace, black marble frame with beige marble inlays, directoire or empire style, original from the early 19th century, from Italy, complete with enamelled ceramic c...

Antique Vintage mantle fireplace, in the full art Deco era, built and sculpted in Fior di Pesco Rosato marble, complete with the threshold built with black marble squares and peach b...

This stunning mantel is carved from deep violet marble with flecks of white, aubergine, and gold ochre veining. Long rectangles featuring raised panels rising from a sunken relief, a...

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 large bolection fireplace produced in three solid blocks of Emperador marble by Ryan and Smith. The Roma Bolection is a stylishly simple and robust e...

Charles X fireplace in Carrara marble, 19th century Dimensions of the fireplace: 75,5 x 91,5cm

This English Regency style mantel is carved from white statuary marble with classic gray veining. In the center of the apron is a rectangular white marble urn motif with floral detai...

Antique mantle fireplace made of Breccia Pernice marble. Breccia Pernice is a polychrome, brecciated and speckled limestone, with colorations ranging from deep red to soft pink, with...

Antique fireplace in white Carrara marble, hand-carved mantle with central shell and decorations on the legs, built entirely by hand in Italy in the 1700s, from Genoa. It has no sid...

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

Beautiful fireplace to place in front of the chimney.

A fine French Louis XV chimneypiece in a softly mottled Carrara marble, which epitomises the Rococo style. The wide, moulded serpentine shelf rests on the boldly carved console jambs...

A small 18th century Louis XV rouge marble fireplace. The richly moulded and panelled frieze is centred by a simple Rococo cartouche, all supported on panelled jambs. French, late 1...

21st Century Georgian-Style Hand-Carved White Marble Fireplace Mantelpiece A superb and unique fireplace mantel, produced under licence from Kenwood House, Hampstead, London, and cr...

A highly important patinated bronze and Sienna marble fireplace of palatial proportions with finely cast bronze panels and classical figures depicting 'Printemps' and 'Automne'. French, circa 1850. This magnificent Fireplace...

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...

Experience the enchanting charm of our French antique shell fireplace, a masterpiece infused with history and style, now elevated with an added dimension of luxury. Crafted from prec...

Louis XVI Style Fireplace In Royal Red And White Carrara Marble Dimensions of the hearth: 94 x 98 cm

An English moulded bolection fireplace in Arabescato marble. A scaled down version of a chimneypiece originally housed in the Officer's mess at Chelsea Barracks, London. Can be made ...

An important, rare mid-18th century Georgian English Rococo antique fireplace surround in Statuary and Maurin green marble influenced by the designs of Sir Henry Cheere (1703-1781) and Isaac Ware...

Louis XVI style fireplace in Carrara marble circa 1880 Dimensions of hearth 86 x 105 cm

Louis XVstyle fireplace in Carrara marble, sculpture of very good quality but late around 1980, dimensions of the hearth 82 x 93 cm.