19th Century Fireplaces and Mantels

A beautiful reclaimed Victorian oak fire mantel dating from the late 19th century. Characterised by its unusual shape, this antique fireplace exudes el...

A large and impressive mahogany fireplace mantel with carvings. The piece is of American origin, circa late 19th century to early 20th century. Carved out of solid grained mahogany, ...

A large antique arts and crafts style carved oak fire mantel, reclaimed from a large country house near Petersfield, Hampshire. With its handsome dark oak finish, this antique firep...

This is a unusual petite French vintage fireplace mantel in bicolor hard stone in Louis XVI style. The straight lines and small makes it easy ...

Large Napoleon III White Carrara Marble Mantel circa 1880

A large, rare and elegant early 19th century 1810c Scottish (Edinburgh’s New Town) Georgian Statuary marble fireplace surround. A generous square edged top shelf sits above a stepped...

Fabulous and in amazing restored condition. Black lacquer finish with Gilt in the carved areas remains in top condition. Aristocratic family representativ...

American brass and polished steel fire coal grate with flanking urn finials, floral medallions, hand chased foliage and eagle gallery, serpentine cast iron b...

This charming Louis XVI-style fireplace is crafted from warm French limestone, exuding understated elegance and timeless appeal. The paneled design highlights the classic simplicity ...

A late 19th Century, Scottish, wrought iron fire grate in the Lorimer arts & crafts manner. A centralised single thistle with leaves standing proud. The shaped fire back, with a thre...

This original trumeau in pinewood comes out of a Louis XIV style paneled room and was installed above the fireplace surround. The mirror is 20th cent...

A large carved corbel Victorian fireplace in Statuary white Italian marble circa 1860. The wide and generous shelf with an ogee moulding to the edge, sitting above a frieze with plai...

Antique French statuary Carrara marble mantelpiece of large scale and great quality. This magnificent Napoleon III style mantelpiece is beautifully carved in the purest of white stat...

A small but grand Belgian fireplace in softly mottled Carrara marble. The moulded shelf sits above a panelled frieze which is centred by a very ornate foliate cartouche, and is flank...

Nice French Campagnard style fireplace mantel in lovely limestone. This gem comes from central France, burgundy area. Its perfect size make it possible to install this mantel in al...

This large Regence style fireplace was made of Breccia Nouvelle marble in the late 19th century. Its entablature adorned with spandrels is underlined with an oblong moulding. It lay...

A rare and important Anglo-Japanese walnut fire screen by Edward William Godwin with a Pagoda style top and a silk Japanese country scene to the front. To the back although worn, there are peacock designs in a circle in the same style as Godwin designed for Jeffrey and Co, including the kissing birds...

An antique Neoclassical style carved pine fire surround. Dating to the late 19th century, this fireplace has stood the test of time across the centuries. It is beautifully ornate, c...

This typical English fireplace is characterized by the beautiful cast iron, with original tiles in it. A built-in fire of this level can be built into a slee...

19th Century Georgian Pair Of Cast Iron Fireplace Insert Panels. Splayed Slips With Recessed Panels Showing Typical Decorative Features Such As Swags, Urns With Floral Patterns Used ...

A large antique Victorian mahogany fireplace reclaimed from a large country house in Yorkshire. Dating to circa 1890, the substantial jamb...

Very warm colored French Corton limestone fireplace. Opening measurements: 41.7 x 40.9 inch. (106 x 104 cm) height x width.

Pair of 19th century French Chenets with doré and patinated bronze. Finely chased.

Phenomenal mantel from Jules Cantini. The marble is called the Jaspe Du Var Rose. In the right panel you see a seal from the world known Jules Cantini workhouse. The Cantini museum i...

This is a heavy antique decorative fire back. An English, cast iron relief fireplace reflector, dating to the late Victorian period, circa 1900. Substantial and classically appealing for the larger fireplace Displays a desirable aged patina and in good original order Heavy cast iron presents a superb relief scene of classical motif Reassuringly robust with a weight of approximately 43kg (95 lb) Striking decoration presents a neo-classical depiction of King Neptune with his trident Neptune rides forth upon his horse-drawn chariot whilst cherubs play celestial music Prominent surmount decorated with classical maritime fish masks...

Late 18th or early 19th century German neoclassical period fireback. The fireback is made of cast iron and has a black / pewter patina. It is in a good condition and does not have...

This nice Pompadour antique fireplace mantel-surround, in a very rich marble, was original installed in a corner in a panelled room in Bruges. Fine architectural element from the 19t...

Exquisite 19th century period regency style fireplace surround reclaimed in the city of Ghent, Belgium. A classic French style mantle with deep side pieces. A real work of art; see t...

19th century French Napoleon III fireback with little red riding hood and the wolf. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made blac...

19th Century American white painted fireplace mantle with strong molding and handsome detailing. Dimensions of opening: 32.45" w x 29.13" h

This fireplace surround captures the essence of the Louis Philippe period from the early 19th century with its minimalistic and elegant design. Crafted in French marble stone, it fea...

A superb pair of antique English Victorian solid brass fireside or mantel whippet dogs, circa 1880. These fine dog sculptures are a nice large size, solid and heavy, and well made wi...

A good quality 19th century French Louis XV Carrara fireplace. The panelled frieze with heavily carved leafwork and foliage throughout. The ...

An elegant 19th-century English Regency style cast and wrought iron fireplace coal grate or basket of urn or trophy form having wrought handles ei...

French fireplace surround for timeless interior. The softness of the matt limestone surface and its beige colour are special. The mantle had some small restorations. Overall it has a...

Antique marble stone fireplace, 19th century. To place in front of the chimney.

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...

Antique Fireback / Backsplash, The Bath Of Diana. Nice square cast iron antique fireback displaying "The Bath Of Diana", Goddess of the night and the hunt. Great condition, can b...

A large 19th century British Swaledale marble fireplace surround in soft mushroom tones with many different types of fossils, a substantially deep shelf sits above an unadorned friez...

A simple late 19th century Scottish polished fire grate in the manner of Robert Adam. A square back plate with scalloped sides, below, a polished fire apron mounted with splayed finials, a four barred curved fire front...

19th Century Victorian Marble Fireplace Mantlepiece. This Fireplace Surround Is English Made And Hand Carved From Italian Carrra Marble. Da...

Extraordinary 19th century French Bleu Turquin Louis XV style carved marble mantel. Decorative carvings and exceptional veining on this piece. A true work ...

A very good quality English Regency period fireplace executed in Italian Statuary white marble. The jambs with fluted columns stood on square foot blocks with carved Ionic capitals, ...

Late 18th / early 19th century French Neoclassical period fire grate. Made of beautifully forged wrought iron. The condition is good. The width at the front is 66 cm (26.0 inches) ...

Crafted from French Limestone, this circa 1850 mantel exudes timelessness and elegance. Its petite size adds a subtle touch of sophistication to any room. Imported from France, this ...

French Brass serpentine four panel folding fire place screen with decorative beaded foliage medallions, engraved ball finials, and flanking side handl...

Large Antique Victorian Embossed Brass Fireplace Log Box Coal Box with Country Scenes. Item features finely embossed details, plenty of storage, soli...

This is an antique Victorian fire surround. An English, fire fender handcrafted in iron dating to the late 19th century, circa 1890. Tradit...

A good quality Aesthetic Movement brass fire fender with turned details and finials above, protective mesh to the lower part all stood on a solid brass plinth.

18th-19th century French neoclassical period fireback. The fireback is made of cast iron and has a black / pewter patina. The condition is good, no cracks.  

French antique Louis XVI fireplace mantel in white Carrara marble. Strong and well profiled stepped topshelf above a finely carved paneled frieze with beautiful laurel leaves flan...

Original simple vintage fireplace surround from a Belgium home in white Carrara marble. It is a Louis XVI style from the 19th century. Measures: 135 cm Exterior Width 53,15 Inch 108...

A nineteenth century Louis XV style fireplace, French, carved in Carrara Marble, the frieze centred by carved shell with delicate trails of flowers to either side, the out-turned scr...

Polished cast iron fireplace surround. Great design by Coalbrookdale with cherub heads and earns. Amazing casting.

A mid 19th century pair of zoomorphic Griffin Fire Dogs or Andirons. Made from cast Iron and with copper stomach inserts, these unusual and rare pieces are indicative of the Victoria...

An unusually high mid 19th century French Louis XVI style fireplace in Carrara marble. The delicately carved shaped frieze with floral guilloche pattern, oval patera to centre and sw...

19th century French Napoleon III fireback with a cupid. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter. The condition is...

Lovely soft toned yellow limestone with hints of red. This subtle French mantel dates back to the beginning of the 19th century. Some minor overall restorations and damages, le...