Marble Building and Garden Elements

A very rare and important English 18th century (circa 1760) statuary and sienna marble fireplace with highly detailed carved centr...

An exceptional French marble-topped bakery or garden table with industrial details in the wrought and cast iron base reflecting the late 19th century time period. The white marble sl...

Pair of 19th Century Hand-Carved Carrara Marble Planters A striking pair of 19th century Italian urn-form planters, masterfully hand-carved from solid Carrara marble. Each planter f...

French black marble column. For a chic interior, classical lines in the spirit of Hollywood Regency.

A superb and richly carved giltwood eagle perched on rocks with open wings, the eagle's head looking to its left and fitted with a separate giltwood wreath...

Dawn Outdoor Side Table The Dawn side table is the epitome of contemporary elegance, becoming a stunning addition for any outdoor space. Compact yet elegant, the Dawn side table fit...

Rouge Pompadour marble fireplace mantel from the 19th Century to place around the chimney.

This Louis XVI style mantel was carved from Rouge Royal marble with striking gray and white veining. A simple recessed panel spans the apron, while classically carved floral motifs s...

Designed by Yaman Pamukcu, Kurna was inspired by traditional bathroom products used in the past with the harmony of marble and metal and adapted to the present day with aesthetic touches. Feel the tradition in your bathrooms in the most natural way with Kurna, which is created with perfect craftsmanship with its rounded lines. The legs are made of black metal. Faucet set...

A unique set of two identical Carrara marble fireplaces! These two mantelpieces are in Pompadour style, characterized by the round ornament in the center of the front part. A very ra...

Small and beautiful reproduction of a regency fireplace made in old Italian arabescato marble. The serpentine paneled frieze is centered by classical french regency cartouche...

Louis XVstyle fireplace in Carrara marble, sculpture of very good quality but late around 1980, dimensions of the hearth 82 x 93 cm.

A large antique Carrara marble sundial plate with a bronze gnomon, dating from the mid 19th century. This octagonal sundial plate is a beautiful, aged addition to an English country...

Bronze mounts and figural medallions adorn paint-decorated cobalt metal pedestals.

Beautiful marble Louis XVI fireplace 19th century to place around the chimney. It is made out of Gris D’Ardenne Marble.

Trace outdoor center table big The Trace outdoor center table is the perfect furniture piece to complement any outdoor lounge space and concede it a modern and sophisticated touch....

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...

Kai Coffee Table The Kai outdoor coffee table combines design with light and wavy shapes, using materials such as marble and stainless steel with premium finishes, making it visual...

Beautiful Noir de Mazy marble fireplace from the 19th century in the style of Louis XVI. This antique fireplace has a straight top and slightly curved legs. The fireplace has beautif...

An attractive English bolection fireplace in a white marble. An unusually deep, substantial moulding with good quality white marble. A copy of the Queen Anne design. Also available i...

Trace Outdoor Bar Table The Trace bar table is the perfect piece to add life and sophistication to any well-structured living space. It provides both functionality and visual appea...

Pair of Rosso Levanto marble columns, twentieth century, each with turned socle on plinth base in Rojo Alicante marble. Italian, early twentieth century. Dimensions: 128cm (50½") Hi...

The frieze centred with a carved centre tablet with a sphinx mounted urn and ribbon tied swags flanked by inlaid roundels and swags, the end blocks carved with drapery hung urns with...

This French White Marble Corner Sink is a timeless piece from the 18th century. Its premium marble surface provides a luxurious feel, while its dura...

Small sink made out of white Marble stone. Originates from France. Circa, 19th c.

A Late Georgian Style Chimneypiece in White Statuary Marble Inlaid with Fine and Rare Specimens of Blue-John Stone A 20th century fireplace with a simple moulded shelf supported by ...

19th Century Marble Fireplace Mantlepiece. Imposing Original Victorian Marble Fireplace Surround Recently Salvaged from A East Lon...

Beautiful marble stone fireplace mantel from the 19th Century to place around the chimney.

A Pair of Early 19th Century French Bronze and Marble Tazzas of Particularly High Quality and Large Size French Circa 1820 These tazzas are incredibly finely detailed and of the fi...

Marble fireplace mantel to place in front of the chimney, from the 19th Century.

Beautiful antique fireplace from the 19th century in English Regency style! This fireplace has a very chic look and many decorations and ornaments, such as acanthus leaves. An elegan...

This mantel was salvaged from the Waldorf Astoria Hotel and is carved from Rouge Royale - a rich oxblood marble characterized by the presence of white c...

Trace Outdoor Dining Table The Trace Dining Table is the epitome of functional yet enjoyable dining. With its perfect combination of comfort and practicality, this table is designe...

Rounded soap dish in Paonazzo marble. Each piece is in a way unique (since each marble block is different in veins and shades) and handcrafted in It...

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 ...

Dawn Square Bar Table The Dawn bar table adapts effortlessly to a variety of environments, ensuring a refined atmosphere for every occasion. Its contemporary aesthetic and durable c...

An early 20th century neoclassical style red or rouge and black marble pedestal.

A grand French mid-19th century chimneypiece carved in Carrara marble, the simple moulded shelf is supported by a frieze carved with sumptuous laurel garlands, an elegant cartouche a...

Imposing Louis XV style fireplace, in Carrara marble circa 1880 Dimensions of the hearth: 83 x 129.5 cm

A large bolection fireplace produced in three solid blocks of Emperador marble by Ryan and Smith. The Roma Bolection is a stylishly simple and robust e...

This marble carved Gothic fireplace mantel showcases exceptional craftsmanship and timeless Gothic design. Made to order, it features intricate carvings ...

This classically-designed carved stone fireplace looks beautiful in either limestone or marble. It is part of our Elizabeth Scott Fireplace Collection, designed by Elizabeth Scott D...

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...

This vintage marble sink features hand-carved details that transport one to the communal bathhouses of the Ottoman Empire, called hamams. This sink features a round basin and shell-s...

The Trace side table is the perfect piece to add life and sophistication to any well-structured living space. As a central piece, it provides both functionality and visual appeal, ma...

The Istanbul Archaeological Museums, which are described as a "museum complex" in the Historic Peninsula, consist of three main sections in total: the Archeology Museum, the Ancient Oriental Works Museum and the Tiled Kiosk Museum. The Istanbul Archeology Museum, which is the first museum in Istanbul, is home to numerous iconic sculptures, such as horse head busts. The most important sculptures in world...

19th Century Antique Spanish white marble sink.

An impressive and most unique Italian 19th century Neo-Classical st. Rouge de Verone, Valence Pink marble and Patinated Bronze fountain. This exceptional fountain is raised by a soli...

Beautiful compact and antique mantelpiece of Carrara marble from Italy. This elegant fireplace dates from the 19th century and has beautiful ornaments and fine lines on the legs. A P...

Antique fireplace in white and "Verde Alpi" inlaid marble. Lateral columns, embossed front and coeval threshold. handmade, 19th century, from France. Superb elegant fireplace with a ...

Trace Outdoor Bar Table The Trace bar table is the perfect piece to add life and sophistication to any well-structured living space. It provides both functionality and visual appea...

A good sized marble corbel , previously part of a large fire surround from the turn of the century. The well executed carving is crisp and highly d...

19th century continental white glazed ceramic coal burner with marble top.

An antique marble mantel crafted from white-veined Carrara marble, dating back to the 1890s and hand-carved in France. The centerpiece features triangular geometric carvings on the k...

Empire style fireplace in antique green marble and gilded bronze Hearth dimensions: 85 x 102 cm

An original reclaimed Shanks wash basin or sink. Mottled brown marble top and splashback with undermounted porcelain basin. Supported on a mahogany stand. Additional Dimensions: ...

Desco collection is the results of a renewed collaboration between Pibamarmi and the designer Vittorio Longheu. This work is defined by a peculiar set of elements, strongly characte...

A large bolection fireplace produced in three solid blocks of white statuary marble with very subtle veining. The Roma Bolection is a stylishly simple and robust example of a bolection moulding...

A grey Bardiglio marble fireplace from the late Georgian period. The free-standing Doric columns support corner blockings carved with ovals, whist the deep mantelpiece rests on th...

Fine French 19th century Louis XVI style carved white marble fireplace mantel surround. The apron with carvings of musical instruments and allegorical to abundance with fruits and ri...