British Building and Garden Elements

20th century cast-iron fireplace basket. This Chestnut slotted fire grate has decorative paws and is in a burnished (polished iron) finish. It h...

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 ...

English brass and cast iron serpentine coal grate with a central gadrooned urn, bead work border, engraved foliage gallery with flanking lions, swags with t...

A fine eighteenth century George III chimneypiece in statuary marble. The solid reverse breakfront shelf sits above a frieze which is delicately carved with a stylised foliate design...

A reclaimed limestone Georgian style garden pool or pond surround dating from circa 1930. With its straight angles and sharp lines, this pond surround is a stunning addition to conte...

A large decorative cast iron fireback featuring George and the Dragon. English, 20th century. Height: 788 mm 31" Width: 838 mm 33"

Large scale wine cooler Cellarette or Jardinière A large George III style oval mahogany cellarette or wine cooler. Raised on four lion's paw feet. The oval body is decorated with gi...

A large scale antique Victorian period oak fire surround, circa 1880, with smart raised and fielded panels to the frieze and jambs. This beautiful fir...

19th century Georgian cast iron Hob grate fireplace A Fabulous conditioned original antique Georgian half hob grate fireplace insert with cast orn...

Pair of English polished steel fire backs with paladin tops, floral ribbon swags, ionic columns, centered decorative flaming urn with paw feet resting on squared plinth with hoof fee...

Large finely carved oak renaissance revival fireplace surround panel. Profusely carved with a lion mask and swags to centre beneath shell overhang. Supported by winged mythical talli...

A tall antique Jacobean style carved oak fireplace with an impressive linen fold panelled overmantel. Striking in style and stature, this fireplace dates from the late 19th century ...

This surround was reclaimed from a property in Ascot, UK. It features carved Sienna marble end blocks and fluted Sienna frieze and jambs. Opening Height 90 cm (35.43 in) Opening Wi...

The sweeping scrollwork and ornate design of these wrought iron gates are a beautiful addition to a traditional country garden. Handsomely made with scrolled details, arrowhead finia...

Carved oak fire surround, the rectangular mantle above carved detail. to the acanthus capitals flanking two original bevelled mirrors. Supposed on bo...

A mid 19th century cast iron register grate with scrolled folliage and flower decoration on front, sides and back. Hobs to each side. (Dated: 12th November 1849) N.B. May be subject ...

This heartwarming English mid-20th-century concrete dog garden ornament exudes an authentic vintage charm that adds a touch of personality to any outdoor space. This delightful mould...

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 Stylish & Elegant English Georgian Bolection Fireplace Surround in Italian Grey Brescia Marble Depth: 4 1/2″ – 11.5 cm External Height: 46 1/4” –...

Regency pierced brass serpentine fronted fender, with central urn motif flanked by griffins and phoenix. Dimensions Height 8.5 inches Width 53 inches Depth 14 inches.

A vibrant and colourful antique stained glass window depicting a horse and rider passing over a cobblestone bridge; one of a series of early 20th ce...

A willow hooded lawn chair, beautifully crafted and retaining its original deep blue painted finish. Age related wear, knocks and abrasions. The chair itself is in sound structural ...

A sophisticated Art Deco period burr walnut fire mantel with a beautiful character grain, striking profile and stepped opening. This handsome antique fireplace is a superb addition t...

Dating from 19th century England, this large glazed Victorian arched door is a stunning feature for properties period and modern. It was reclaimed ...

A large, rare and imposing late George II English Rococo chimneypiece with strong Palladian influences carved in white statuary marble and inlaid with panels of Verde Antico marble. ...

An English pair of terracotta urns from the early 20th century. This antique pair of terracotta urns from England are adorn in a motif of winged griffins and a foliage motif, with reeded elements. A solid handle piece flanks either side of the urns, which are raised upon octagonal shaped platform bases. The round shaped top has a nice lip which overhangs the urn below. These pieces have a lovely old patina throughout. These antique English urns...

An antique handcarved pale sandstone fire surround salvaged from a property in Derby. Dating to the late Victorian period, this simple yet elegant fireplace offers a timeless look wi...

English cast iron boot scraper with flanking Springer spaniels, centered wood brushes with scraper, and resting on a molded edge rectangular base, Late 19th century.

This set of tall reclaimed garden gates make a beautiful feature as pedestrian gates, bringing style to a garden or yard with their ornate design as well as security with their tight...

A large ecclesiastical stained glass panel depicting a scene of the Good Shepherd. Dating to circa 1890, this stained glass is housed in a modern back lit box frame to bring its arr...

An antique early 20th century English oak fireplace. Elegant egg and dart carvings line the dog leg jambs to the moulded frieze. In classic Victorian style, this fireplace evokes sty...

English cast brass woodsman doorstop leaning against tree with axe, hatchet under belt , and his canine companion . Mid-19th Century.

After the antique, a finely modelled and weathered limestone garden ornament. This classical sculpture is generally thought to be based on the story of the slaying of the Calydoni...

Superb antique English chased and pierced brass "Adam" style fireplace Fender with superbly hand chased swags/festoons below vertical piercing.

A simple and elegant Georgian farmhouse style pine fire surround circa 1800 with a stripped finish; ready for painting, staining or waxing as desired. Though over 220 years old, this...

A small modern stained glass panel from the studio of Patrick Reyntiens (1925-2021). Attributed to the artist, this stained glass window d...

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

A striking antique wrought iron and cast iron side gate, circa 1870, beautifully handcrafted with unusual finials and original features. At over 150 years of age, this antique garden...

A handsome antique English oak 12 panel door, suitable for interior or exterior use. This smart antique door has a stripped finish and warm oak colour, making a timeless addition to ...

Portoro marble shell pedestal basin. This stunning design is hand carved into portoro marble, also known as black and gold marble. The sink is in the fo...

A small Bathstone chimneypiece in the Jacobean manner. Beautiful scrolled strapwork with rose detail adorn the frieze. Scroll decoration framed within the fluted spandrel archs. Flut...

A wonderfully vibrant antique English stained glass fanlight, reclaimed from a hotel in Newquay, UK. Though dating from the late 19th cen...

late 19th Early 20th century collection of three carved decorative elements, previously part of larger interior architectural feature or fireplace. Decorated In the regency Adam styl...

A beautiful pair of reclaimed terracotta garden statues in classical term-style dating from the late 19th century. Handsomely handcrafted into terracotta, these antique statues depic...

English Victorian papier-mâché pearl inlaid black lacquered fire screen with needlepoint panel depicting a bird sitting on a floral spray.

A white statuary marble neoclassical fire surround inlaid with classical vases, vine leaves and fruit with colored marbles. England, 20th c...

Pair of antique Victorian wrought iron railings. The gold finish on this elegant set is enough to catch anyone's eye. The cast iron floral embellishment ...

A pair of antique Chinese bronze urns on columns, suitable for interior use. The foo dog handles are engraved with detailed patterns complim...

A mid 19th century Victorian pine fire mantel, reclaimed from a large country house near Shrewsbury, Shropshire. This large scale fire surround will make a beautiful feature of prope...

A polished moulded bolection fireplace surround in red-veined limestone, with shaped plinth blocks. Restored. Circa Late Nineteenth century. Internal wi...

This is a delightful antique log layer. An English, copper and brass fireside fuel tray, dating to the Victorian period, circa 1870. Showcasing distinctive Cornish copper craftsmansh...

One pair very stately 19th century English urns on stands, brushed steel finish. Great dramatic statement for entry, indoor or out door use.

This lovely Victorian mahogany torchiere plant stand is a beautiful addition to any antique furniture collection. The intricate design and high-qualit...

A 19th century English wrought iron fire-grate. In a classic Victorian style, this antique fire grate is of a simple yet elegant design with scrolling elements to the fret; making it...

Of Classic form on later bases of cast material similar to Haddenstone. Sold without pedestal bases. Currently planted with live succulents, but can be removed and sold empty.

An antique natural pine Georgian bullseye fireplace. Though the design is simple, this antique pine surround speaks volumes in an interior, ornamented with round details called ‘bul...

Introducing the ultimate outdoor dining experience with the Kensington Outdoor Dining Table & Dining Chair Set by Bridgman. This luxurious set is crafted with the highest quality mat...

An antique Georgian style pine fire surround. At over 120 years old, this fireplace is evocative of classic Georgian styling, detailed with carved foliage designs to the frieze and e...

In imari style.

An antique carved oak fireplace salvaged from a property in Tunbridge Wells. Displaying a decorative frieze carved with foliage and flowers, this ...