Early 19th Century Fireplaces and Mantels

Antique French Country Limestone Campagnard Style Fireplace Mantel Capture the essence of French country living with this antique limestone campagnard style fireplace mantel. Exper...

18th - 19th century French Neoclassical period fireback. The fireback is signed by its maker P. Martin C. The fireback is made of cast iron and has a natural brown patina. Upon requ...

An English late 18th early 19th century Bolection frame fireplace in Ancaster stone. Carved with a simple yet fine bolection moulding with stepped outer and inner profiles. Stood on ...

Beautiful late American Federal/Classical period mahogany carved fireplace surround. Possibly Philadelphia. With carved tapered and fluted columns and oval shell rosettes. Center und...

Antique fireplace in black marble and lovely colored brocatelle marble details. The Louis Philippe style console fireplace mantel ...

A large Antique French ''Bolection de Versailles" in variegated Nero Marquina with a bold bolection moulded frame, large and deep concave freiz...

A fine and rare 19th Century Regency fireplace Insert grate, salvaged from Anne Street, Edinburgh Scotland. Circular rondel's to capitals with r...

Late 18th or early 19th century French neoclassical fireback with an allegory of love. The fireback is made of cast iron. It has a black / pewter patina. The condition is good, no cr...

Lovely subtle decorated French Louis XV fireplace mantel in nice soft toned limestone. This mantel shows how a true Parisian limestone Louis XV fireplace mantel should look and feel....

18th - 19th century French neoclassical fireback with two pillars of freedom. The pillars symbolize the value liberty, one of the three values of the French revolution. The firebac...

An early 19th century Regency cast iron fireplace insert of excellent quality. Convex interior ribbed panels connect to a central acanthus leaf internal fire frame resting on foot blocks. Graphite polished to bring out the quality of the castings. English, circa 1820 The fire opening size of the acanthus frame...

This is a nice 19th century French plain beige limestone teint original antique fireplace mantle in a hard limestone. It could work in a timeless minimalistic interior. In the images...

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....

An elegant and rare model of a Regency period fireplace, in Dove Grey Italian Bardiglio marble. Its simple architectural lines, very much in the manner of Sir John Soane. The slim pl...

18th-19th century French Neoclassical fireback with Apollo and Satyr Marsyas. Marsyas challenged Apollo to a musical contest. He hoped to defeat Apollo with a flute thrown away by At...

A large and very fine quality Louis XV style fire place in Carrara marble. The profusely carved frieze, protruding from beneath the mantle with gadrooned carved centre cartouche , su...

An original Scottish early 19th century cast iron fireplace insert by Carron of Falkirk. A splayed frame with high relief embe...

A large and elegant early 19th Century Scottish statuary marble Corbeled fireplace surround. A generous square edged top shelf, resting above a unadorned shaped frieze, flanked by ta...

Spanish early 19th Century "Brasero" fire pit table with 12 sides. Original bronze hardware and insert.

Exclusive antique fireplace surround in the richly colored Royal Breche D’ Aleppo marble. This mantel is in perfect condition. You feel the hand of the maker when you run your finger...

A large English Georgian fire grate. The four cluster column legs surmounted by large finials, flanking an intricately pierced brass fret work of b...

A good quality original Georgian hob grate cast iron insert made by the famous Carron foundry.

An early 19th c Regency period antique fireplace in '' Pencil Vein " Italian Carrara marble. The reeded jamb panels to front with conforming frieze. The end blocks of square fielded ...

A large Regency period antique Irish fireplace in Kilkenny marble. Usually referred to as the "Dublin Corbel" as they were typically used ther...

A beautiful early 19th century, circa 1811-1820 statuary white marble chimneypiece surround. This fireplace is English made and hand-carved in Italian marble with French influence of...

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

American wrought iron free standing fire screen with flanking ball finials, decorative scrolled centered panel with interior lined mesh, tapered supporting columns, and terminating o...

This is a heavy antique decorative fire back. An English, cast iron fireplace reflector with Lion Rampant relief, dating to the Georgian period, ci...

English Regency brass fire fender with hand chased floral motif, bossing, circular medallions and terminating on lions paw feet, Early 19th Century.

A rare Regency Edinburgh New Town 19th Century Kilkenny fossil marble fireplace surround. A plain shelf sits above a frieze with a centralised recessed oval tablet, above a carved co...

This old mantel was intricately hand carved by Italian master carvers and installed on site anywhere between circa(1782-1805). It has been well preserved throughout the years. It was...

A large Regency period fireplace from the Early 19th century in "Old English" pencil veined Carrara marble. The slim pilaster jambs supported on square foot blocks, surmounted by car...

A rare 19th century Georgian Triptych paneled cast iron fireplace set. A central paneled grate opening with a central circular framed cherub h...

A well drawn and proportioned early 19th century antique Irish fireplace from the Regency period. The pilaster jambs with cushion mould panels to front, with conforming detail on brackets. The large fielded panelled tablet with cushion moulded panels either side. All beneath a simple plain shelf. Carved in a certain strain of Italian Carrara marble commonly referred to as "Old English" as it was used predominantly in the late 18th , early 19th centuries. A very nice example of this style of Irish Georgian...

American fire place mantel made of poplar with Greek key motif and carved corner sunburst supported by turned column legs. All original . Early 19th ...

This is a very unusual oxidized original antique fireplace mantle in Green marble from the Empire period with lion claw (griffon) The front has 2 diamond point details. The Marble is Vert Maurin with provenance from Hameau de Maurin in the Alpes-De-Haute-Provence ( France ). This marble was also used for the Grave Monument of Napoléon Premiér, in the Invalides...

Stunning firescreen with a famous earth angle, two famous saint paintings and more. With meaningful 'religious art' from centuries-past being one of our specialities we were amazed, not only to find this rare and marvelous fire screen, but also because of its excellent condition. But then again, we think we see that more often, because true beauty, quality and meaningful antiques radiate something that was already there when it was created. This 'something' commands respect and this is why most people take very good care of very special pieces. Since much of what we know now about Christianity and about monastic life in its various 'forms' was given shape since the life of Christ, but possibly mostly so in Gothic / Medieval times, much of this is expressed in European Gothic Art of the past circa 8 centuries. This rare and beautiful fire screen from the early 1800s, which can also be used as a small room divider or a unique work of (decorative) art, is one of those unique Gothic antiques. The hand-carved knight sculptures are 'fun' and meaningful at the same time, because one of them looks a little desperate and the other looks more at piece and in prayer. The hand-carved winged angel in the middle/ on top seems to be overlooking this 'Gesamtkunstwerk'. What makes this antique really stand out and what also makes it complete are the three hand-painted panels inside this screen. Each of the figures portrayed here have dedicated their lifes to doing good, giving love and hope and thus healing people. In the centre is a glorious painting (in medieval style) of Earth Angel St. Raphael and the boy Tobias. The lady Saint on the right, we feel, is Elizabeth of Hungary (1207-1231) and the Saint on the left, we feel, is either Francis de Sales...

An early 19th century French Louis xv limestone fireplace mantel. The moulded and profiled shelf is integral to the frieze which is cent...

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 distinguished English Regency statuary marble mantel from the 1810s, complemented by a newly introduced hearth. The marble maintains its commendable condition, boasting captivating...

18th - 19th century French neoclassical fireback with two pillars of freedom. The pillars symbolize the value liberty, one of the three values of the French revolution. The firebac...

A large and impressive Louis XVI style fireplace mantel in Italian Carrara marble. The scrolled console legs, with decorative carved ribbon twist, carved acanthus to top, carved scro...

A white marble fireplace in the late Georgian style. The frieze with carved centre blocking featuring quiver, torch and tied ribbon, with carved lyres to end blocks. Panelled frieze ...

This mantelpiece adorned with Egyptian-inspired decorations was crafted in three types of marble around 1830. The bases and capitals of the jambs, as well as the mantel, are made of ...

18th - 19th century French Louis XV period andirons made of wrought iron with a recently forged grate. The condition is good. The total width at the front is 68.5 cm / 27.0 inches. ...

French brass figural fire place screen with dancing woman playing tambourine, central flame urn finial with lambs tongue plinth, eight flanking pierced chased folding fans, decorativ...

A small 19th century Georgian Scottish Carron of Falkirk cast iron fireplace insert. An outer rim plate hosting arched reeded moulding with corner blocks of flowers, resting on moulded foot blocks, the tapered side panels of further reeding supporting the three polished front bars with spaced balls...

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...

French brass freestanding fire place screen with a figural cornucopia scrolled handle, centered musical and ivy ribbon medallion, foliage scrolled be...

A Regency Portland stone chimneypiece, with single reed to the shelf, the reeded frieze flanked by roundels above unusual framed and reeded jambs. Dimensions: 115.5cm (45½") High, 1...

A large and notable antique Georgian cast iron Hob Grate, showing good quality casting, English, circa 1820.

Very nice and colorful fireplace mantel from the Northern part of Italy. This Italian beauty dated from the beginning of the 19th century it was reclaimed from a large estate. Its ...

This old mantel was intricately hand carved by Italian master carvers and installed on site anywhere between circa(1782-1805). It has been well preserved throughout the years. It was...

Fine 19th Century Cast Iron Fireback. Of Panel form with fine detail of Venus being attended by two putti with tridents. Quite a well executed piece. Removed from a New Hampshire ...

A lovely Antique Wooden Fireplace mantel. This subtle yet elegant and decorative mantel has a beautiful original patina and atmospher...

18th - 19th century French neoclassical fireback with two pillars of freedom. The pillars symbolize the value liberty, one of the three values of the French revolution. The firebac...

Stunning stone fireplace surround of 19th-century French minimalistic Louis philip design. Sculpted in bicolor hard stone, it showcases natural variations in earthy tones that enhanc...

18th/19th century French Neoclassical period fireback. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter. The fireback is ...