English Fireplaces and Mantels

A large antique Arts and Crafts style oak fire surround. This fireplace’s warm oak colour and arched frieze accompanied by subtle dentils and shaped embellishments make it a timeles...

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

An Arts and Crafts cast iron fireplace in the style of C F A Voysey, still retaining its original matching cast iron arched over mantle mirror with a central single stylised flower h...

A large and impressive 19th century style Statuary marble corbel fireplace surround. A deep shelf with ovolo edge moulding rests above a recessed cushion panelled frieze, flanked by ...

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

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. ...

19th Century late Georgian - early Victorian cast-iron tiled combination fireplace. This antique original fireplace has been recently salvaged from a large london town house, blackened to its original finish. Notably suitable for a smaller chimney breast. its cast iron relief...

19th century Georgian Fireplace Pine Mantlepiece. Original George IV Timber Hand Carved Fireplace Surround. Recently Salvaged From A London Town House. Beautifully Carved Rosettes...

Regency style bronze tinder urn or coal scuttle , of circular form, with removable lid, revealing a black painted tin liner, resting in a bullet shaped cistern, supported by reuleaux...

A painted Georgian neoclassical style fire mantel dating from around 1870. This impressive, large scale fire surround is crafted in pine and ornately decorated with composition embel...

An antique cast iron fire insert circa 1900 made by Thomas Elsley, British manufacturers of cast iron decorative works between 1882 and 1905. Stamped ‘T. Elsley’ to the reverse, this cast iron fire insert was reclaimed from a London townhouse. A handsome addition to fireplaces traditional and modern alike, it features a decoratively cast pattern of repeating circles...

A large Victorian cast iron & bronze "Nautilus" log grate made in the Nineteen century by The Nautilus Fire Company of Yeovil, Somerset. The side Tendril floral decoration with flower head bosses to the side vents in the Renaissance manner, on four bronze and iron wheels, the front bar posts with bronze fire tool holders shaped like a wave, in keeping with the Nautical theme. With large bronze capping and decorative finials, a decoratively cast iron canopy...

A decorative pair of cast iron fireback interior panels. The centre panels with putti and foliage, surrounded by rosette patterns. English, 19th centur...

A large antique English carved oak mantelpiece in the Palladian style. With full rounded and fluted Doric columns, egg and dart mouldings and a carved ...

A Victorian cast iron and bronze "Nautilus" log grate made in the 19th century by the the Nautilus Fire company, Yeovil, Somerset. Shell shaped side panels with bronze stylised flowe...

Superb antique English chased and pierced brass "Adam" style fireplace Fender with superbly hand chased swags/festoons below vertical piercing.

A period English Arts & Crafts copper fire insert with handcrafted stylized floral decoration and hand riveted details throughout. Internal measurements: Height, 27inches Width,...

An antique Georgian stripped pine bullseye style fireplace. At over 200 years old, though the design is simple, the Georgian style surround speaks volumes in an interior, ornamented with round ‘bullseye’ details on each end block alongside a moulded frieze and jambs. Handcrafted in the late 1700s, it is an antique of Georgian and Regency design, showcasing details of the period with a time-worn look throughout. The simple lines of this antique pine fireplace...

An original Art Deco style walnut fire surround; one of two almost identical fireplaces we are selling salvaged from a property in South London. Featuring unique character woodgrain ...

An architecturally designed Regency period fireplace in statuary white marble. The pilaster jambs with moulded and stepped capitals, supporting a stepped long frieze with plain centr...

When you want the room to make a elegant statement... This very impressive unique English-made Pine breakfront fire surround will set an important tone within the room. A well propo...

An Arts and Crafts oak fire surround by Shapland and Petter with five heart carvings to the top flanked by tapering columns with a central circular detail. The overmantel sits on th...

A simple English fireplace in Italian Arabescato marble. The jambs surmounted by moulded capital, with stepped frieze. Plain shelf above. A copy of an original Regency fireplace. N.B...

A large and substantial late 19th / early 20th century limestone bolection fire surround, circa 1900. With its appealing neutral stone colour, with light wear in places that only add...

A stunning antique English white statuary marble fireplace, circa 1920, beautifully decorated with fine sienna marble ribbon inlays to the frieze and jambs. Though this marble fire ...

A striking 1920s Art Deco style fire mantel made with handsome walnut veneers. It is a striking surround for a 1920s townhouse, the curved jambs and raised mantel bringing the drama ...

A handsome antique Edwardian oak fireplace dating from the early 20th century. This reclaimed fireplace has a relatively understated design, crafted in oak with a panelled frieze an...

A late Victorian Carrara marble fireplace with arched moulded opening, headed by a corbel keystone flanked by foliate spandrels. The heavy jambs inset with arched lozenges carved wit...

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...

Unique and elegant fireplace fender or surround beautifully crafted from metal and brass with tapering drip pans and encased brass floral themes in fine scrolling detail. A one of a ...

20th century cast-iron fireplace basket. This Chestnut slotted fire grate has decorative paws and is in a burnished (polished iron) finish. It h...

A fine antique Victorian cast iron and brass fire basket, a tall arch fireback encompassing a rainbow panel, supported by scalloped side panels connect...

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...

A simple white marble fireplace of architectural form. The moulded frieze and jambs surmounted by moulded shelf above. English design. Modern. Shelf Width: 1545 mm 60 ?" Overall...

A reclaimed original Art Deco walnut fire surround salvaged from a house in Birmingham. Made in walnut, this fireplace has a rich colour that’s perfect for a period property in a chi...

Pair of English Regency tole chestnut urns with hand-painted floral decorative motif, removable lids with acorn finials, original lions head side ha...

An elegant wide scale late 19th century English regency style antique marble fire mantel, the marble of a rich grey tone similar to Ashburton. Its large scale makes this marble firep...

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 mid 19th century Victorian pine fire mantel, reclaimed from a large country house near Shrewsbury, Shropshire. This large scale fire surround will make a beautiful feature of prope...

An early 19th century antique Regency style pine fire mantel with a stripped finish, ready for paint, stain or wax. Dating from circa 1820, this fireplace has stood the test of time ...

A large antique English carved oak fire mantel dating to around 1860, utilising earlier, possibly 16th and 17th century parts. This fire surround was reclaimed from a property in Mal...

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...

A quality late 19th century Regency style fireplace, executed in Italian statuary white marble, with Sienna marble inner slips, capitals and mouldings. The jambs having fluted panels with carved husks, separated by a Sienna marble moulding with another carved panel of urns, tapering pedestals, swags and foliate detail. The end blocks again of carved urns, swags and bell drops. The centre tablet celebrating the arts, depicting putti drawing...

C R Ashbee, attributed. An Arts & Crafts cast iron fireplace, central circular mirror with stylised copper frame overlooked by twin kissing doves with displ...

C R Ashbee, The Guild of Handicraft. Chipping Camden. An English Arts & Crafts hand-made copper fireplace fender with stylized floral decoration and h...

20th Century Victorian Style Polished Cast Iron Combination Fireplace. This Magnificent Combination Fireplace, The Britannia Exemplifies Quality Cast Iron. Detailed Highlight Polis...

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...

A large fireplace guard with heavy iron cross hatched wire netting and iron base and rod supports topped by a steel rail. Known as a nursery guard as it is not meant as a spark guard...

You can see an small chimney piece made in England. It is made out of an cotswolds sandstone, circa 1760. Through the simplicity the chimney gains an very special charisma. Firepla...

An antique Regency period fireplace in Bardiglio and statuary white marbles. The reeded and molded panels on the jambs surmounted by end blocks of carved classical urns in statuary marble. The centre tablet of a lidded classical urn again in statuary marble flanked either side by reeded and molded panels. All supported on foot blocks with a reeded mantel...

A large and attractive late 19th century Pine & Gesso fireplace surround complete with its original over mantel mirror. The triple bevelled mirror sits within separate frames featuri...

A large 19th century George II style Dog grate in steel and brass. The broken front leg supports capped with steeple finials, flanking a decorative cut brass fret with geometric apro...

Fine mid-19th century English brass and iron fire screen or nursery guard having half round brass rail over wrought iron framework with iron wire mesh having swag decoration, retaini...

A handsomely carved antique Victorian oak fire surround dating to circa 1900. The light wax finish of the mid tone oak compliments the raised panelled frieze panel complimented by a...

This classical pair of early 19th century English Regency andiron firedogs feature multiple turnings and perch delicately on ball feet. Very sturdy construction.

An elegant fireplace insert with curved sides and applied beading. This antique fire insert will make a timeless addition to any chimneypiece. Additional dimensions Opening Height ...

A large decorative cast iron fireback featuring George and the Dragon. English, 20th century. Height: 788 mm 31" Width: 838 mm 33"

An elegant Art Nouveau cast iron fire mantel detailed with eagle ornamentation and fish roundels across the mantel and applied with a black graphite finish. Dating from the late 19th...

A charming late Georgian style carved white marble fireplace with striking rich blue marble inlay. The centre tablet finely carved with torch, sword, shield and ribbons. The side blo...

A large Baroque style cast iron Victorian fire basket with a shaped fire back, a two barred serpentine shaped grate mounted with a pair of brass ...