British Fireplaces and Mantels

A large antique English carved mahogany fire surround dating to the late 19th century. Dating to circa 1870, this handsome surround displays an array of charming features; its large...

An antique Georgian pine fire surround. Showcasing a fine composition fluted frieze, this fireplace is ornately crafted in pine and applied with composition mouldings to the centre t...

An English stone fireplace in the Gothic manner. The moulded legs surmounted by arched frieze with carved spandrels. Moulded shelf above, English, circa 1900. Shelf Width: 1680 mm ...

Circa 1890 England Quality fire dogs with subtle and elegant brass work showing their original patina and lustre with swirling finials.

An antique George III pine and composition fire surround, salvaged from a house near Salisbury. Dating from the mid 18th century, this antique fireplace is beautifully decorated wit...

Though this antique English limestone bolection fireplace dates from circa 1800, it clean-lines and soft limestone colour are an understated addition to interiors traditional and con...

A reclaimed Arts and Crafts style copper insert with repoussé foliage decoration. It is an ornate fire insert to accompany a fire grate and surround, adding classical opulence to any...

An antique carved oak fireplace salvaged from a property in Tunbridge Wells. Displaying a decorative frieze carved with foliage and flowers, this ...

An exquisite example of early 19th-century English craftsmanship, this Neoclassical marble Fireplace mantel combines stately proportions with refined decorative details. Crafted from...

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 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...

English Regency brass fire fender with pierced floral gallery, hand chase bossing, rope motif, and terminating on stylized lions paw feet. Late 18th Century.

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...

An English moulded bolection fireplace in Nero Marquina black marble with white veins. An elegant shape, based on a period original. Modern. Shelf widt...

Unusual Chippendale style hanging wall shelf made of fine mahogany and featuring eight intricately turned spindles and a handsome carved crown.Original mirror glass. See measurements...

A large scale antique Victorian period oak fire surround, circa 1880, with smart raised and fielded panels to the frieze and jambs. This beautiful fir...

An original Jacobean style wrought and cast iron fire grate on dogs by Thomas Elsley (stamped), British manufacturers of cast iron decorative works between 1882 and 1905. This antiq...

A fireplace nursery guard with narrowly spaced vertical ironwork decorated with swags around the top and two center scrolls, on iron base and rod supports, and topped with a brass rail...

A sophisticated Art Deco period burr walnut fire mantel with a beautiful character grain, striking profile and stepped opening. This handsome antique fireplace is a superb addition t...

19th century cast iron & brass fireplace basket grate. French Styled original victorian free standing fire basket & grate. This Typical Frenc...

A stunning late 19th century Georgian style cast iron fire grate; a handsome addition to any fireplace. Pairing function with flair, this reclaimed fire grate is cast with an ornate ...

A Fine English 19th Century Victorian Ebonized Wood and Edged Bone-Inlaid Summer Fireplace Screen. The ornately decorated screen centered with a needlepoint tapestry of a Tarot card ...

A highly decorative black Chinoiserie fireplace dating from the 1920s. With its straight lines and angular proportions, this impressive Japanned maho...

A large reclaimed Art Deco mahogany fireplace. This striking fireplace is veneered in flame mahogany with a stylish painted matt black shelf and trim. The dark tone and large mantel...

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 ...

A bolection fireplace in Crema Marfil marble. The creamy, beige stone with soft veins of colour including, tones of yellow, rust and white. The moulded fr...

A late 19th century Jacobean style oak fireplace, reclaimed from a house in Somerset. With its simplistic architectural style and warm wood colour, this antique fire surround holds a...

A very wide George III pine fire mantel with composition (Gesso) detailing. An original of the Georgian era, this traditional English fireplace is typical of styles of the period, th...

A decorative cast iron fireplace insert with Delft tiles. The shaped front bars with reeding and foliage embellishments. Ceramic Delft tiles surrounding, featuring children at play. ...

A large English ornate brass fire screen with reed and berry moulding, acanthus leaf feet. The front is divided into three sections by the moulding with brass supports at rear. Scrol...

Very rare beautiful 19th century Victorian fire dogs, andirons Cast-iron with polished detailed brass 7" diameter sunflower motif.

English brass Urn finial and artistic wire work fire place fender with stylized scrolled feet. Early 19th century.

A distinguished English neoclassical fireplace mantel exquisitely carved in luminous Statuario marble and inlaid with striking panels of richly veined Brocatello marble. The composit...

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

A very powerful antique cast iron Victorian black Gothic fire basket. With Very Unique Andirons as stylized griffins with rings through their noses an...

A rustic 17th century English country style oak fireplace, reclaimed from an old farmhouse in Ludlow, Herefordshire. Dating from around 1690, this antique fireplace is more than 330 ...

The Chelsea is a tall and elegant neoclassical style fire surround in Italian Carrara marble made by Ryan and Smith. Modelled straight off an 18th centu...

19th century Victorian Gothic fireplace grate. Traditional blackened finished basket grate with church like spike fencing flanked & support by Serpent Style Andirons / Fire Dogs. ...

English Victorian papier-mâché pearl inlaid black lacquered fire screen with needlepoint panel depicting a bird sitting on a floral spray.

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

A finely worked wrought Iron fire grate from the Arts & Crafts period, extensive scroll detail with framed fire brick back.

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 finely cast hob grate from the early 19th century, in the manner of George Bullock. The scrolled Acanthus leaf console uprights with inverted reeded panels, bowed front bars with b...

Regency statuary marble fireplace of large scale and great quality. With full free standing Sienna marble columns, capped with egg and dart Doric capitals. In the centre of the friez...

19th century English brass trimmed wrought iron nursery guard with wide "fish-net" mesh. Used originally to protect pets and children from the fireplace. Now a decorative accessory.

An antique Scottish pine and composition fire surround in the style of Robert Adam. Dating from the late 18th century, this antique fireplace displays beautiful hand carved elements...

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...

A black-iron Thomas Jeckyll register stove front grate front from the foundry of Barnard, Bishop and Barnards. The full surround with asymmetric floral design, roundels with four bee...

Dating from the Mid-19th Century, this English antique cast iron fire grate or brazier is over 170 years old. It is highly decorative, cast in iro...

A simple Scottish 19th Century Victorian splayed cast iron fireplace insert by the renowned Carron of Falkirk foundry. An outer frame with a raised border splayed sides envelop to t...

An antique medieval style round wrought iron freestanding fire basket with supporting firedogs. At over 130 years old, this fire grate has certainly stood the test of time. With a...

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 ...

A petite antique pine fireplace. At over 200 years old, this timeless piece has certainly stood the test of time. Its stripped finish displays a neutral tone suitable for modern and...

A stylish English moulded bolection fireplace in a dark brown Marquina marble. A good quality copy of the Queen Anne design from the early 18th century. Could be made to any size and...

A stunning early 20th century Georgian style white statuary marble and Tinos green marble fireplace decorated in the neoclassical style with a carved angel to the centre tablet and m...

An antique Early Victorian period Gothic revival, black marble and portoro marble fireplace The half octagonal Nero Portoro marble columns are sat on pure black marble pilasters and ...

A Breccia Viola marble fireplace of stylish architectural design. The aperture surrounded by a wide frame stepped moulding. The plain and squat ...

Antique Victorian Statuary Carrara Beautifully Carved Marble Mantel, circa 1880 A beautifully carved and proportioned, antique Victorian Statuary Carrara marble mantelpiece. The D-...

A large antique neoclassical wooden fireplace. This impressive, large scale fire surround is crafted in hardwood and ornately decorated with composition embellishments, including fl...

Double-slip Georgian carved fireplace in Italian grey bardiglio marble Can be made in different sizes.