Stone Fireplaces and Mantels

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...

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...

Fascinating mantle fireplace in white Carrara marble, carved with shells. The precious white Carrara marble is known throughout the world for its uniform pure white color with gray v...

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...

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...

Inhales, eats, breathes, blowing out in coloured clay, out- out in the house of chewed symbolic smoke. Black teeth snacking sweets. Willumsen ( an oven ) FOS Chimney height is a...

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...

An early to mid 19th century Gothic style English limestone fireplace. Unusual in design, very well proportioned and a substantial piece. The castellated shelf which steps down to sit on a plain frieze with carved ends to meet the roundels carved at the top of the jambs, which are inverted with interior panels with outer mouldings. Areas of this surround with natural fossil and patterning adding to its charm. A superior quality Gothic surround...

A small Louis XV style marble fire surround. Reclaimed from a house in central London. Measures: Opening height 83cm Opening width 83.5cm Width between outside of legs 116.5...

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...

A Nineteenth century Italian Renaissance style Carrara and Statuarietto marble fireplace, removed from a townhouse in Belgravia, London. The frieze carved in relief and centred by a...

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 ...

A very large antique carved oak and grey Bardiglio marble mantelpiece. This is an extremely well carved English Palladian style oak fireplace of g...

A good quality English Georgian style fireplace in Moleanos limestone. The barrel frieze with centre panel, surmounted by moulded shelf. A fine quality copy of a period piece. N.B. M...

A most elegant French 18th century Louis XV period limestone fireplace mantel. The mantel is raised by elegant jambs each displaying fine recessed mottled designs. The arbalest shape...

Antique large white marble fireplace, French 19th century French, 19th Century Height 140cm, width 185cm, depth 51cm This incredible piece of marble furniture is superbly carved in ...

Beautiful rustic fireplace made of French limestone from the 19th century. This antique mantelpiece has beautiful lines and few decorations. A mantelpiece that is ideal for a rural o...

Beautifully crafted mantelpiece of French limestone from the 19th century! We retrieved this mantelpiece from an old farm in Bordeaux. The warm colour scheme with patina and the roun...

A very beautiful antique and unique fireplace mantel made out of Belgian bluestone with a big open trumeau on top of it. Recuperated out of a Castle in Belgium near Brussels.

A rare antique marble fireplace from ancient Portoro marble from Tuscany. Portoro marble is one of the most elegant Italian marbles. The black background with golden veins ensures lu...

Very beautiful ornate antique mantelpiece of Carrara marble with gold-plated gold from the 19th century. A real eye-catcher in your interior. This mantelpiece in Louis XVI style is p...

Prometheo Dos Fire Table by Andres Monnier Dimensions: D 180 x W 100 x H 40 cm. Materials: Grey Quarry stone. This piece is a variant of the original...

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...

Louis XV carved limestone mantel with faux Sienna marble finish and Crema Marfil marble hearth. Made in France. This mantel was one of a group of antique mantels imported from Europe...

Rouge Pompadour marble fireplace mantel from the 19th Century to place around the chimney.

A unique set of two identical Carrara marble fireplaces! These two mantelpieces are in Pompadour style, characterized by the round ornament in the center of the front part. A very ra...

Small and beautiful reproduction of a regency fireplace made in old Italian arabescato marble. The serpentine paneled frieze is centered by classical french regency cartouche...

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

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...

This Louis XVI style mantel was carved from Rouge Royal marble with striking gray and white veining. A simple recessed panel spans the apron, while classically carved floral motifs s...

A good quality Louis XVI style antique fireplace in Italian Pavonazzo marble. The stop fluted jambs surmounted by carved panels with flowers and tied ...

Beautiful marble Louis XVI fireplace 19th century to place around the chimney. It is made out of Gris D’Ardenne Marble.

The Louis XIII Stone Fireplace is inspired by architecture and design during the reign of King Louis XIII of France (1610 - 1641). The molding through the legs and first lintel is cl...

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...

Beautiful Noir de Mazy marble fireplace from the 19th century in the style of Louis XVI. This antique fireplace has a straight top and slightly curved legs. The fireplace has beautif...

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 ...

Beautiful marble stone fireplace mantel from the 19th Century to place around the chimney.

This exceptional Statuary marble fireplace is an absolute gem. This Statuary is an Italian marble type. This particular piece of marble is totally whit out veins. The same marble ...

Beautiful antique fireplace from the 19th century in English Regency style! This fireplace has a very chic look and many decorations and ornaments, such as acanthus leaves. An elegan...

This limestone mantel, reclaimed from an early 1800s French farmhouse, adds a touch of history and elegance to any room. With its timeless design and quality craftsmanship, it serves...

Beautiful antique castle fireplace of French limestone from the 19th century. This mantle with trumeau is richly decorated with ornaments and beautiful lines. A fireplace with a stat...

19th Century Marble Fireplace Mantlepiece. Imposing Original Victorian Marble Fireplace Surround Recently Salvaged from A East Lon...

An elegant Georgian neoclassical style fireplace inlaid with intricate Wedgwood plaques, dating to around 1850. This beautiful antique fireplace centres around three Jasperware Wedgewood porcelain plaques of the Dancing Hours...

An attractive English bolection fireplace in a white marble. An unusually deep, substantial moulding with good quality white marble. A copy of the Queen Anne design. Also available i...

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...

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...

Marble fireplace mantel to place in front of the chimney, from the 19th Century.

This mantel was salvaged from the Waldorf Astoria Hotel and is carved from Rouge Royale - a rich oxblood marble characterized by the presence of white c...

Beautfiul and rare fireplace mantel from the 18th century made out of Belgian bluestone. Recuperated out of a mansion near Paris, France. Fireplace to place in front of the chimney.

This marble carved Gothic fireplace mantel showcases exceptional craftsmanship and timeless Gothic design. Made to order, it features intricate carvings ...

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...

Similar to our Tudor and Stuart fireplace designs, the Gothic stone fireplace features the traditional peaked arch, evoking the classic 16th ce...

Introducing Viewpoint - Firepit, a geometric post-modern addition to your outdoor space. Designed and handmade by artist Franco V in Brooklyn, NY. Composed of steel with a concrete ...

Imposing Louis XV style fireplace, in Carrara marble circa 1880 Dimensions of the hearth: 83 x 129.5 cm

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...

Antique Mantle Fireplace, richly carved in Burgundy stone, with central shell plus 2 shells on the sides, carved wavy, original from the 18th century, There are no sides (to be walle...

Sphere Outdoor Fire Pit The Sphere Fire Pit is a striking fusion of design and function, crafted from durable carbon steel to withstand the elements while adding a touch of modern e...

An antique marble mantel crafted from white-veined Carrara marble, dating back to the 1890s and hand-carved in France. The centerpiece features triangular geometric carvings on the k...

An antique French fireplace in quality breche marble with ormolu mounts and original cast iron chamber. In typical Empire Style, and well-proportioned having fine tapering columns supported on square foot blocks and ormolu mounts, again caped with ormolu egg...

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...