1810s Fireplaces and Mantels
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Style: Neoclassical
Period: 1810s
Set of Italian Brass & Wrought Iron Urn Finial Fireplace Tools on Stand, C 1810
Located in Hollywood, SC
Set of Italian decorative brass and wrought iron fireplace tools on stand with fluted urn finials and swags, and resting on three incised medallion scrolled feet. Early 19th century....
Category
Italian Neoclassical Antique 1810s Fireplaces and Mantels
Materials
Brass, Wrought Iron
Pair of Italian Wrought Iron & Poly Chromed Medallion Andirons w/ Log Stops 1810
Located in Hollywood, SC
Pair of Italian gilt figural mask wrought iron and poly chromed medallion andirons with flanking gilt foliage and painted ball finials, decorative scrolled gilt foliage iron work, ce...
Category
Italian Neoclassical Antique 1810s Fireplaces and Mantels
Materials
Wrought Iron
Fan-Carved Wood Mantel in the Federal Taste
Located in New York, NY
New York,
Fan-carved mantel in the Federal taste, circa 1812
Pine
Measures: 66 1/4 in. high, 90 3/8 in. wide, 13 1/4 in. deep
Within the genre of carved rather than plasterwork mantels of the Federal Period, no example that has come to light is more perfectly designed or more carefully wrought than the present one, which is an amazing symphony of fans, urns, beads, and other Neo-Classical devices, all ultimately influenced by the plasterwork designs of the English architects Robert (1728–1792) and James (1732–1794) Adam.
Of a type that proliferated in the area bounded by the northern New Jersey counties of Bergen and Passaic, the Hudson Valley, and western Long Island, the mantel is representative of work that flourished in the first couple of decades of the 19th century. While most of the woodwork of this style that has survived is found in interiors, various examples of exterior doors and other trim have been noted, but most examples have disappeared as a result, variously, of natural deterioration and purposeful demolition in anticipation of development.
Although considerably larger in scale and more elaborate in ornament than a mantel that has been in the collection of the Brooklyn Museum since 1944 (acc. no. 44.55; photograph in Hirschl & Adler archives), the present mantel is so close in style and conception to that example that it likely originated in the same house.
The Brooklyn mantel is documented as having been removed from a house built by Judge Isaac Terhune (1762–1837), an eminent lawyer and judge. The house was situated on King’s Highway, at the corner of Mansfield Place, at the edge of South Greenfield, a village in northern Gravesend, Brooklyn. A photograph of the house, taken by the German e´migre´ photographer, Eugene Armbruster (1865–1933), is in the collection of the New-York Historical Society.
Terhune is ultimately descended from the Dutch-Huguenot e´migre´ Albert Albertson Terhunen, who died in Flatlands, Brooklyn, in 1685.The family eventually spread out through New Amsterdam, Long Island, and Bergen County, New Jersey. Terhune’s great-grandson, also Albert (1715–1806), left a sizable estate to his six surviving children, including his second child and second son, Isaac.
Judge Terhune lived in the house until his death in 1837, at which time, according to an article in The New York Times for November 27, 1910, he, having died without issue, “left the White Frame Mansion with its exquisitely carved doorway, beautiful mantels, and other interior adornments to his brother John” (Part Six, p. 11).
The article continues:
After the latter’s death, the house and its estate of about 70 acres passed through several owners, eventually being purchased in 1853 by Benjamin G. Hitchings [1813–1893].
The house next passed to Benjamin’s son, Hector, who had been born in the house, and then lived there for 25 years. He sold it in 1910 in partial payment for a Manhattan apartment house. After thus having been sold to a real estate developer, the Hitchings property was subdivided into Hitchings Homestead. The house survived until about 1928, at which time it was razed and a Deco-style apartment house with the address 2301 Kings Highway was constructed on the site and occupied in 1935.
By 1910, the fate of the house, in an area of Brooklyn that was being rapidly developed, was becoming obvious. The Times article reported:
The house has been well kept up, but fearing lest the hand of time or vandals might deal harshly with some of its choice bits of carving, Mr. Hitchings removed a few years ago a few beautifully carved wood mantels...
Category
American Neoclassical Antique 1810s Fireplaces and Mantels
Materials
Wood
Pair of Italian Brass and Wrought Iron Floral Andirions, Circa 1810
Located in Hollywood, SC
Pair of Italian brass floral acanthus and rope motif ball top andirons with wrought iron twisted column, acanthus centered plinths, pleasing decorative scroll work and terminating on...
Category
Italian Neoclassical Antique 1810s Fireplaces and Mantels
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Regency Statuary White Marble Fireplace Made in Italy for the British Market
Located in London, GB
The crisply carved and bold, neoclassical forms of this fireplace are the epitome of fashionable Regency taste. It features a plain shelf above a frieze filled with scrolling vines and bunches of grapes, suggesting it was originally intended for a dining room. In the centre sits a carved ‘Gorgoneion’: a popular Ancient Greek motif associated with the Olympian gods Athena and Zeus. Rosette paterae flank the frieze, which is supported by a striking pair of caryatids, the lower portions of which are carved in relief with a staff of fennel covered with ivy and topped by a pine cone. This symbol, known as a ‘thyrsus’, was associated Dionysus, with the Greek god of wine, and is a further allusion to dining and revelry.
Like ancient Greek and Roman sculpture and archaeological artifacts, fine chimney pieces were a popular souvenir of the Grand Tour. The skilled workshops of Rome did a lively trade with British patrons during the second half of the eighteenth and early-nineteenth centuries, often working to designs provided by their clients.
The unequivocal Neoclassicism of this fireplace represents the forefront of Regency design, as promoted by such luminaries as the collector and connoisseur Thomas Hope (1769-1831). Hope’s Household Furniture and Interior Decoration was published in 1807 and was the most important British furniture design book of the early nineteenth century. Inspired by Greek, Roman and Egyptian sources and the influence of the French Directoire and Empire styles, Hope endeavoured to rid British design of ‘tameness’ and monotonous decoration which ‘completely tired the eye and mind’, and replace it with ‘a delightful significance of shape and embellishment’. Originally from Somerville House in County Meath...
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The crisply-carved and bold, neoclassical forms of this fireplace are the epitome of fashionable Regency taste. It features a plain shelf above a frieze filled with scrolling vines and bunches of grapes, suggesting it was originally intended for a dining room. In the centre sits a carved ‘Gorgonian,’ a popular Ancient Greek motif associated with the Olympian gods Athena and Zeus. Rosette paterae flank the frieze, which is supported by a striking pair of caryatids, the lower portions of which are carved in relief with a staff of fennel covered with ivy and topped by a pine cone. This symbol, known as a ‘thyrsus,’ was associated Dionysus, with the Greek god of wine, and is a further allusion to dining and revelry.
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