Early 19th Century Fireplaces and Mantels

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

French neoclassical period fireback with a woman and a cupid. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter. The condi...

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

An early 19th/ late 18th century Dutch fireplace mantel in the Louis XVI manner. The nice mantel has great proportions and is wonderfully decorated in "V.O.C." style. It superbly c...

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, ...

A 19th century neoclassical Regency Statuary and Imperial Egyptian Porphyry antique marble fireplace surround, in the Egyptian Revival style. The neoclassical forms of this fireplace are the epitome of fashionable Regency taste. It features a simply moulded shelf resting above a panelled Egyptian Porphyry frieze centred by a crisply carved and bold statuary marble mask depicting Aurora, the Roman Goddess of dawn. Flanked by circular Imperial Egyptian Porphyry capitols to the end blocks, thus supporting Imperial Egyptian Porphyry tapered panelled jambs raised on plain foot blocks. The external return sections have a recessed panel with cock-beading. Shown with its original statuary marble kerb fender...

19th Century Georgian Cast Iron & Brass High Back Fire Basket Grate Recently Salvaged From A London Town House. A Remarkable Fine Piece, This Antique Fireplace Basket Is Flanked Wit...

Late 18th / early 19th century French Neoclassical period fire grate. Made of beautifully forged wrought iron period andirons and a recently forged grate. The condition is good. The...

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...

The serpentine shaped frieze has incredibly fine carvings of fabulous Renaissance ornament. The centre cartouche is upheld by male figures terminating in scrolling acanthus leaf’s, these flanked by dragons amongst foliage and female figures on each of the curved corners. The frieze upheld by highly carved baluster shaped pedestals on Rosso Verona jambs. Made from Pietra d’Istria marble and Rosso Verona marble. Photographed in un-restored original condition, can be cleaned if preferred, circa 1830 Provenance: Talygarn house in Wales, rebuilt during the 19th century by George Thomas Clarke, industrialist, ironmaster for Isambard Kingdom Brunel.

18th-19th century French Louis XV fireback depicting the abduction of Ganymede. Ganymede was the son of King Tros, the founder of Troy, and the shepherd of his father's cattle. H...

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...

This is one of a kind fireplace surround in Carrara marble was made by special order for the Castle of Fontainebleau. The identical but in grey mantel was ...

Louis XVI French Fireplace in Rare Rose Limestone with Carved Rosettes Make a refined statement with this lovely 19th century Louis XVI fireplace mantel, hand-carved from rare rose-...

18th-19th century French neoclassical fireback with an allegory of love. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter.

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...

A large antique Regency period Irish Kilkenny marble fireplace from the early 19th century. A good example of this type of Irish fireplace us...

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...

‘Louis XV style Carrara Marble Mantel, circa 1980 ’ Louis XV style mantel in Carrara marble , circa 1980 shelf broken and repaired dimensions of hearth : 79 x 94 cm

Napoleon III mantel in Paonazzo marble, Cartouche in Statuary White Marble circa 1880 Napoleon III mantel in Paonazzo marble, statuary white marble cartouche, putty playing with a do...

A fine and small Turquin Bleu marble fireplace surround in perfect condition perfect for a fine bespoke French style Classic room. Measures: 148 cm EW 58.27". 111 cm EH 43.70". 1...

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 at no extra cos...

Very nice and attractive English moulded bolection fireplace in warm and soft toned wood. Great condition and easy to install.

Expertly crafted in the 1820s, this French Ardennes Grey Marble Mantel exudes elegance and sophistication. Its Louis XVI design features a carved motif in the center and on the mante...

An Irish antique fireplace from the Regency period in Italian Carrara and Siena marbles. The jambs with demi lune reeded panels on book matched...

This is a nice French honey color limestone antique fireplace surround. The waxed surface of the antique chimney piece has a silky feeling when t...

An elegantly simple English early 19th century statuary white marble fireplace, the plain pilaster jambs adorned with finely carved tied Laurels....

A Statuary white and Portoro marble fireplace from the early 19th century English Regency period. The jambs with inlaid panels of Italian black and gold Portoro marble, stood on sepa...

A large and well proportioned Regency fireplace in Statuary white marble. The panelled jambs with cushioned side returns stood on separate foot b...

An original and rare Scottish probably (Carron of Falkirk) Georgian Cast Iron fireplace insert of favourable proportions in the British Ro...

American White Pine fire place mantel with carved molded edges, one board back, and rectangular carved vertical legs with squared plinths . Early 19th Century . Fire Box Dim. 40" Tall / 40.5" Wide...

Louis XVI-style fireplace in Carrara marble, circa 1880 Interior lintel broken into three pieces and restored. Dimensions of the fireplace: 83.5 x 111.5 cm

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

Lovely tall and decorative fireback with a depiction of Poseidon holding trident, the sea, four horses and cherubs holding trumpet. Bottom is rough and has a repair, overall great...

An original large-scale Georgian period wrought and cast iron fire grate circa 1800 with a detachable decorative summer grate to the front. Historically, summer fireplace grates li...

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 ...

The bicolor hard limestone for this antique fireplace surround is a Burgundy Corton stone flecked with violet colored veins. We call it designed by nature for a rustic, French country room. We can provide the hearth in original antique Burgundy dalles with original ancient surfaces...

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...

This is a red toned Burgundy hard limestone fireplace surround. It is simple, plain, yet elegant. It is in 3 solid blocks. Works perfect with modern and contemporary art work. Measu...

An impressive reclaimed Statuary marble fireplace surround with Verde marble inlay. We currently have a matching pair of these surrounds (ARMSTRONG & DARLING); both were reclaimed fr...

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...

A large antique French solid oak Louis style fireplace. Dating to circa 1900, this surround handcrafted from good quality oak with a handsome mid oak finish. Showcasing striking do...

A large English Regency period fireplace surround executed in Italian Statuary white marble. An exceptional and Finely carved Greek Revival Regency fireplace, the Jambs with carved torchieres, oak leaf...

Spectacular antique chimneypiece crafted from Statuary marble and with large opulent panels of Lapis Lazuli inlay. This magnificent fireplace surround was removed from a large house...

A very large Scottish Georgian early 19th century statuary marble fireplace surround originally from Edinburgh's New Town. A generous square edged top ...

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...

English brass Urn finial and artistic wire work fire place fender with stylized scrolled feet. Early 19th century.

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

This French country however elegant original fire surround has been made out of 3 solid blocks in a Burgundy hard stone/marble. It origins of the Louis Philippe period, 19th century....

The chimneypiece bears a center tablet that closely resembles that by Robert Adam in the library at Kenwood House, the overall form echoing his work in its detail and in the quality ...

An early 19th century Empire period Statuary white marble with ormolu mounted fireplace. Very fine quality marble and ormolu, with demi lune shaped shelf, frieze and jambs. The friez...

A large scale original late 18th/early 19th century Georgian English York stone fireplace circa 1800. Carved by hand into York stone, this antiqu...

A large stylised and very well configured fireplace in Belgian black marble and Italian Verona marble. The jambs with tapering fluted panels in Verona, surmounted by corner blocks wi...

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

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

A tall, Louis XIV ‘Bolection de Versailles’ antique chimney-piece or fire place in richly coloured cherry red Griotte marble. The concave fluted fri...

This rare white statuary marble mantel originates from the private collection of a Long Island resident who reported that this piece was in the possession of President James Monroe d...

Very nice and strong French Louis XV fireplace mantel in limestone. The amazingly detailed carvings are beautifully executed, the strong lines of the mantels gives it a nice stance....

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