Hand-Carved Fireplaces and Mantels

French Art Nouveau white carrara marble mantelpiece. Depth: 16? – 40.6 cm External height: 43 1/2” – 110.4 cm External width: 60? – 152.4 cm In...

Unique fireplace produced under license from Kenwood House Hampstead, London. Finely detailed vines bearing clusters of ripe grapes clamber up the jambs and across the frieze of the ...

19th Century Louis Marble Fireplace Mantlepiece 19th Century Statuary White Marble Fireplace ThIs Victorian Louis XV Style Marble Fireplace Is Hand Carv...

Rare Gothic Castle Limestone Chimney Mantle Chateau Fireplace Hand Carved Stone . A real museum / Chateau mantel fireplace piece. Perfect for a Rustic ...

Antique 18th C. Hand Carved Stone Fireplace Mantle Chimney Mantelpiece Surround . Gorgeous antique Hand Carved limestone fireplace from Provence. 18th century Louis XIV cheminee trumeau mantle...

An Imperial 19th century chimneypiece of good proportions carved in well preserved Carrara marble. The statuesque piece has canted jambs carved with flutes filled with Campanula, oth...

A stately English Regency period fireplace mantel crafted from lustrous black Belgian marble, adorned with classical gilded bronze fluted columns and Ionic capitals. Dating to circa ...

Decorative Fireplace in Ebony Wood White Carved Elements and Peacock Design Alexander's Collection Peacock decorative fireplace (limited edition, only 10 pieces) was used as an exhi...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning ornately carved circa 1400 Henry VIII Armorial Crest Coat of Arms fireplace with Dieu Et Mon Droit...

A Stylish & Elegant English Queen Anne Style Bolection Fireplace Surround in Nicely Veined Italian Arabescato Marble, with a Deep Shelf. External Width: 57 3/4″ – 147 cm Depth: 7″ –...

This 18th century French chimneypiece is made from sandstone and has its original Trumeau or upper piece. It’s a fine example of the Louis XIV style w...

18th Century Large Mantle Regence Chateau Hand Carved Stone Antique Fireplace , Rare and unique French antique castle fireplace Louis Regence Transition Louis XV Period Limestone Chi...

21st Century Victorian Carved Corbel Marble Fireplace Mantlepiece. Hand Carved From Italian Statuary White Marble Made In England. Based On A Late Victorian Early Edwardian Design. S...

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...

Of archetypal art deco form, this chimneypiece is reminiscent of Art Deco silhouettes such as the Walker Tower in New York. Carved from Black Marquina, the striking marble is figured...

Antique and Precious mantel fireplace, constructed of French Red marble with beautiful light white veining, The frame features carved geometric moldings with space for central coat o...

A Superb and Rare George III, Neoclassical Siena and Statuary Marble and Painted Pine Fireplace with Porphyry and Antico Verde Faux Marbles Circa 1785–95. Inset with painted polychr...

This authentic 19th-century French fireplace mantel is hand-carved from deep black Belgian marble, renowned for its mirror-like polish and luxurious depth of tone. The surface reflec...

Beautifully carved cream marble hand carved with a central urn in the middle of this piece. The side supports are gracefully curved in a corbel shape. Inside measurements are 31” wid...

Louis XIV style carved limestone fireplace mantel created by hand and perfectly distressed to create great age. The natural lines and neutral tones allow this piece to work in a vari...

This exceptional Statuary marble fireplace is an absolute gem. This Statuary is an Italian marble type. This particular piece of marble is totally whit out veins. The same marble ...

This authentic 18th-century French Regency Rococo fireplace surround is a splendid example of Palladian-influenced craftsmanship, sculpted from rare Royal marble, richly colored with...

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....

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...

This Régence mantelpiece in grey sandstone tics all the boxes of the age of the Baroque. The Régence used the same strong classically inspired lines from the early Baroque but brough...

This stunning mantel is carved from deep violet marble with flecks of white, aubergine, and gold ochre veining. Long rectangles featuring raised panels rising from a sunken relief, a...

A large early 18th century French Regence carved brown marble mantelpiece with a large carved shell. This mantel is made from an extinct and very unusual marble. It is a great size a...

This is a unique, one of a kind, bicolor French Burgundy marble hard stone original antique fireplace mantle. The size being petite makes this a small and charming mantle piece suita...

This spectacular, monumental 17th century English carved limestone fireplace, circa 1650, was reclaimed from Cobtree Manor House, England (demolished 1968). Standing at 2 m tall (6’ 5”) and over 2.7 m wide (9’), this exceptional English fire surround is a very rare find. It is not often you find a chimneypiece like this outside of a listed heritage property, making this a rare opportunity to purchase a fireplace of such size and grandeur. Highly elaborate, the surround is intricately hand-carved throughout, the frieze of which is most extravagant, carved with a mythical beast to the central tablet among birds, stylised lions holding crowns, parakeets and scrolling foliage. The jambs are carved in a column-like style with fruits and flowers below corbels to the end blocks, completed with a carved egg and dart trim beneath the shelf. This fireplace truly is a magnificent work of art, designed for an interior of prestige and fine grandeur. It is in the manner of late 16th / early 17th century English architect and designer, Inigo Jones (1573 – 1652), who was known for introducing the classical style architecture of the Italian Renaissance to Britain. His famous works include the Banqueting House at Whitehall, The Queen’s House, Greenwich and the Queen’s Chapel at St. James’ Palace. Provenance Removed from a wing of Cobtree Manor in Kent, UK. Though demolished in 1968, the house’s parklands remain to this day and were once the site of Maidstone Zoo. The occupation of the land itself dates back as far as the neolithic times (4300 BC – 2000 BC). However, the first known record can be found in the title estate deeds of English poet and politician, Sir Thomas Wyatt, in 1596. Cobtree is linked to the famous 19th century novelist, Charles Dickens (1812 – 1870). It is believed that during the 1830s, a young Dickens had fallen into a pond while out walking near Cobtree farm. He knocked on the door of the tenant farmer at the time – Mr William Spong – who took Dickens in. It is said that Dickens later took inspiration from Mr Spong in his 1837 novel ‘The Pickwick Papers’, in which he immortalised him as Mr Wardle of Manor Farm near Dingley Dell. 17th Century Heritage Having stood the test of time for more than 370 years, this antique fireplace offers a glimpse into England in the 1600s. This century saw the Stuarts rise to the English throne: first James I of England and VI of Scotland following the death of Queen Elizabeth I in 1603, followed by Charles I in 1625. Other notable events of this century included the English Civil War (1642 – 1651) and Guy Fawkes...

A late 18th century fireplace with a breakfront shelf, supported by a dentil motif. The central tablet is vigorously carved with foliage and flowers, continuing on the frieze. This i...

Antique fireplace in white Carrara marble, hand-carved mantle with central shell and decorations on the legs, built entirely by hand in Italy in the 1700s, from Genoa. It has no sid...

A distinguished and gracefully sculpted Louis XV-style fireplace mantel, originating from France circa 1850, this exquisite piece embodies the opulence and fluidity of the 19th centu...

This small scale English Regency style mantel is carved from white statuary marble inlaid with Verde Antico. This rich green inlay runs the length of the jambs and across the apron, ...

A Very Refined 1780S Neoclassical Chimneypiece In White Statuary Marble With Tinos Inlays Of The Highest Quality. An exquisite late 18th century chimneypiece of Robert Adam’s design....

In white statuary marble of strong, bold design, based on an Inigo Jones / William Kent design with well sculpted crisp mouldings and falling foliate drops. A good and handsome chimneypiece with austere grandeur and presence so typical of the English Palladian...

Antique fireplace mantle, hand-carved in Empire style, original from the first half of the 19th century, built for a palace in Italy. Elegant and composed in shapes, geometric and c...

White Decorative Fireplace Сhinoiserie style in Solid Wood and Marble This decorative white fireplace is a part of a Bespoke collection "Forbidden city" for Alexander's Collection ...

American brass and polished steel fire tools resting on a turned urn finial marble stand. Set consist of poker, tong and shovel, Early 19th Century.

This small scale English Regency style mantel is carved from warm white marble, inlaid with a mixed, unique brown colored marble. This unique brown marble inlay runs the length of th...

A mid-19th century, Italian carved walnut fireplace. The jambs carved with muscular, Atlantean figures. They stand on reclining elephants with outstretched trunks. Heaven represented...

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 magnificent French Louis XV period fireplace mantel, dating to circa 1740–1760, exquisitely hand-carved from richly veined Rouge Royal marble. This mantel exemplifies the Rococo se...

Here we have a Louis XV antique black marble mantel with white veins. This is a lovely French piece that dates back to the 19th century. ...

Antique Mantle Fireplace, richly carved in Burgundy stone, with central shell plus 2 shells on the sides, carved wavy, original from the 18th century, There are no sides (to be walle...

A sophisticated fireplace crafted from white marble with delicate, classically inspired ornamental carvings. Its design features a molded upper mantel with wavy lines, while the fron...

This gothic revival fireplace surround is a stunning centrepiece that captures the elegance of historical architecture while incorporating distinctive design features. Its peaked arc...

Fascinating antique fireplace mantel in white Carrara marble. The precious white Carrara marble is known throughout the world for its uniform pure white color with gray veins. Alrea...

This authentic French fireplace surround is hand-carved from hard limestone sourced in Burgundy, renowned for its durability and warm tone. The stone’s soft honey-beige hue with subt...

This Louis XV period fireplace was made from Calacatta marble. Its lintel is decorated with an asymmetrical shell, typical of the Louis XV period . The central shell is surrounded b...

An extremely fine late 18th century Statuary marble chimneypiece of strong architectural character and landscape proportion, after a design by the architect Robert Adam (1728 – 1792). The pilaster jambs are capped by Greek Ionic capitals, possibly quoting the recently discovered Temple of Ilissus in Athens, supporting a refined shelf with a charming cushion bed...

American brass finial and polished steel fire place tools resting on the original squared grooved marble stand, Early 19th century. Set consists of pierced shovel, tong, and poker.

This extremely large French Louis XVI white marble mantel features an apron embellished with a fantastic square marguerite on each end, a...

Antique Fireplace Mantle, richly carved with three shells with the central one very rich, carved in white Carrara marble, Very beautiful, elegant and refined, original from the 18th ...

This authentic 19th-century French Louis Philippe fireplace surround embodies the understated grace and architectural balance of the Louis Philippe period, crafted in fine hard limes...

German Louis XV 18th Century Rococo Walnut Fireplace Surround and Overmantel (can be fitted with a mirror plate or a painting), beautiful carved decoration, warm rich patina. The sep...

An attractive and architecturally stylish Bbreccia Viola marble mantelpiece. The serpentine opening with fluted keystone below a recessed panelled frieze, three corbels support a cor...

This original vintage marble fireplace surround is one of a collection of 4 that was reclaimed out of a Brussels great Maison de Mait...

This English Regency style mantel is carved from white marble with graceful white veining. A curved groove frame runs across the apron and down each leg, and circular medallions feat...

This authentic 18th-century Rococo-Regency fireplace mantel is a superb example of Palladian-influenced French craftsmanship, sculpted in rare Royal Brown Belgian marble. Its deep ch...

This magnificent chimneypiece is carved from fine statuary marble with contrasting inlaid thumbnails of dark Rosso Lavanto across the frieze. The signature motifs, expert craftsmans...