English Fireplaces and Mantels

With its beautifully hand carved tablet and intricate details, this wooden mantel in the Georgian style is a spectacular surround for a large room. It features a rich caramel brown c...

A relatively simple early 20th century antique English wooden fire surround, beautifully crafted with hand-carved egg and dart moulding. By repute, it was reclaimed from Mickleham Ha...

20th Century, Hand Carved Statuary Marble English Fireplace. Hand carved statuary white marble fireplace surround. (Two available) Have you ever dreamt of owning a sculptural masterpiece as magnificent as this fireplace believed to be a replica of The Original Fireplace...

An Arts & Crafts semi-circular wrought-iron fire basket with heart-shaped finials. The railed basket with cone and heart-shaped finials that flank the arched fireback...

A large-scale 19th century panelled oak fireplace in the earlier Georgian style. Simply decorated with raised and fielded panels throughout, this antique wooden fire surround is a ti...

A large brass and steel fire grate, with tapering front supports surmounted by classical finials. The serpentine pierced brass fret work of geometric form, with rosettes and beading....

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

An exceptional carved chimney piece with mirror above, inspired by the Chinese room of Claydon. The elaborate carved decoration following the style of Luke Lightfoot...

A handsome fine burr walnut and inlaid Art Deco fire mantel, reclaimed from a private house in Coventry. Characterised by its sharp lines and striking profile, this antique fireplac...

A large and impressive Gothic Revival fire grate in wrought iron with brick fire back. The front supports swept out on splayed feet with curved elongated uprights with dragons heads ...

An antique Doulton & Co glazed green fire surround. Constructed in stoneware, this striking fire surround has an unusual pale green glazed finish, bringing elegance and style to peri...

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

An antique Georgian style carved pine and composition fire surround. Crafted from solid pine with a stripped and waxed finish this fire surround has an elegant compact and simple de...

An antique late Georgian or Regency period painted pine and gesso/composition fire surround. Dating to circa 1820, this stunning fireplace is an original of the English Georgian and ...

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...

An original Victorian era Gothic Revival sandstone fire mantel circa 1880, with ornate column-style jambs, decorative foliate spandrels and a dramatic arched fireplace opening with carved bust to the top. Sourced from a property in the North of England, this antique York stone fireplace...

A polished moulded bolection fireplace surround in red-veined limestone, with shaped plinth blocks. Restored. Circa Late Nineteenth century. Internal wi...

A reclaimed original Art Deco style bolection fireplace. Veneered in burr walnut, this 1920s fireplace has a rich colour that is perfect for a period property in a chic Art Deco town...

A handsome antique English oak fireplace beam carved in the arts and crafts style, perfect for an inglenook fireplace. With its medium golden oak colour, this reclaimed oak fireplace...

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 elegant antique English carved pine fire mantel, reclaimed from a property in Edinburgh. Dating from the early 19th century, this fireplace i...

A substantially constructed and beautifully decorated antique English mahogany fireplace of beautiful colour and quality, dating from the mid 19th century. The simple lines and large-scale proportions of this antique mahogany fire surround...

A pair of wrought iron cresset fire dogs, English, circa 1800. Cresset tops used for the warming of flasks of wine, and the fronts each have three rests for fire tools or roasting...

A very fine Antique English early 19th century Geo. IV period pierced brass fireplace fender with traditional "ivy" pierced motif and a nice gadroon or rope type central bolster. Ima...

19th century English large leather and brass bellow.

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 large ‘Hopton Wood’ limestone moulded bolection chimneypiece fireplace with rectangular framed frieze and plinths. The chimneypiece is made up of three carved moulded lengths and ...

A finely engraved early 20th century polished wrought fire screen by C Downer, Campden, Glos. The fire screen with densely latticed mesh riveted to inner frame, extensive intricate ...

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

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 George III fireplace with an imposing breakfront shelf, an acanthus leaf motif running along the border. The central tablet is after the painting “Telemachus and the Nymphs of Caly...

A late 18th century Georgian English neoclassical chimneypiece, with a wide breakfront shelf. The centre tablet carved in high relief of a classical female figure in a garden. Flanke...

An antique 19th century Jacobean style carved oak fireplace. Dating to circa 1850, this English fireplace is elaborately carved and ...

This highly decorative antique fire mantel dates from the late 1800s and encompasses a mixture of styles from across the ages. The composition moul...

An antique Georgian style painted pine fire surround, carved with flower ‘bullseye’ roundels to the end blocks, reclaimed from a property in south-east England. Though dating from t...

A fantastic antique english heavy cast brass hand chased and engraved "Adam style" fireplace fender with exceptional festoons and garlands reminiscent of Robert Adam's influence (as ...

Set of English polished steel urn finial fire place tools on stand, Mid 19th century Set consist of tong, pierced shovel, and poker.

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

A Mid 19th century Georgian style Dog grate, in polished steel and wrought iron. The deeply engraved and cut fret of Storks, scrolls and beaded edge. Engraved side wings of ribbon ti...

A pair of substantial Jacobean style wrought iron andirons linked by a highly ornate scrolled fender bar. The standards in the form of a pair of griffins holding rings in their mouth...

A stylish English moulded bolection fireplace in Portland stone. A good quality copy of the Queen Anne design. Could be made to any size and in other materials if required. Measure:...

A polished wrought 18th century fire basket in the Dutch form, with finely shaped fire bars, central moulded standard and arched cast iron fir...

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...

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...

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 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...

Classic Regency period brass fender having a reticulated frame work. A handsome solid piece in a large size. Inside measurements 59 inches wide x 15.75 deep. Over-all measurements ab...

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 handsome antique Jacobean carved oak fire mantel, dating to the early Victorian era. Incorporating various styles, its fluted column-like jambs, floral carvings to the frieze and ...

A reclaimed ebonized wood Bolection style fire mantel. This striking bolection fireplace showcases rich ebonized wood with a deep black glossy finish, i...

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 antique Georgian style carved pine fire surround. Dating to circa 1850, this English fireplace has a stripped pine finish, heavily carved with swags and foliage topped with a stri...

19th Century Black Slate Fireplace Mantlepiece. A Large Beautiful Antique Victorian English Made Fireplace Surround Made From Black Welsh Slate. This Stunning Fireplace Surround Has ...

Royal House Antiques Royal House Antiques is delighted to offer for sale simply put the finest Victorian Club Fender ever made with Nickle plated chrome Castle turrets and new Itali...

An original English Georgian era pine fireplace with ‘bullseye’ roundels to the end blocks. Dating from the late 18th century, this antique fire surround is more than 245 years old, ...

A Georgian carved pine fire mantel made using materials dating from the mid 18th century, later adapted. With a warm wood colour, this antique fire surround features a classical dog ...

English Regency brass fire fender with artistic wire work gallery, original flanking tool holders, lower fluted banding with decorative shell & foliage motif, and resting on the orig...

An antique Jacobean wrought iron fire basket, reclaimed from a property in Gloucestershire. Dating to circa 1880, this reclaimed fire grate has an elegant, minimalist design with poi...