19th Century Building and Garden Elements

A pair of French doors from around 1900, solid pine frame construction with 3 panels each. Dimensions: 238 cm high, 75.5 cm wide, 4.5 cm deep Also very suitable for installation as...

Pierced copper sheet fire fender in a brass frame with cast brass lion's head corner mounts. Birmingham, England, circa 1810.

Of rare design and generous height, this chimneypiece is carved from fine Carrara marble. The lintel is comprised of two elements; the higher component has 3 simple corbel forms to...

A complete antique ornate garden patio set of a table and three chairs in the manner of Coalbrookdale. Although small, this set has a beautiful heavily ornate design paired with a d...

This is a Belgian red marble Regency style fireplace surround. Measures: 167 cm EW 65,75" 117 cm EH 46,06" 124 cm IW 48,81" 94 cm IH 37" 43 cm S 16,92"

American Country-style (19/20th Century) stripped pine fireplace mantel with column sides.

Dove Grey large scale Jardiniere, dating to circa 1890-1900, deep and heavy, decorative cast iron construction, historically overpainted in an aged dove grey paint which has resulted...

A large pair of drive way or entrance gates in cast iron by renowned Foundry originally founded in the English Regency Period. Incredibly decorative and very well cast with serpents,...

A completely original 19th century Victorian polished cast iron and mounted polished brass fire basket grate in the Rococo style. A shaped high back ...

These antique sandstone rectangular trough garden planters are truly stunning. Their weathered patina adds character and charm, making them perfe...

The top is composed of rustically smooth planks of teak wood, while the pair of pedestals are of antique silver cast iron. Each, decorated with acanthus leaves, has at the top four f...

A most decorative and high quality French 19th century Belle Epoque period Louis XVI st. Giltwood and Breccia Violette marble pedestal. This unique pe...

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...

Pretty antique Victorian brass jardiniere having a quality antique Victorian brass jardiniere with fruit decoration to the body raised on th...

Louis XV style fireplace in white marble: the rocaille decoration of the band with the shell in the center, molded jamb, fretwork top. Good general condition, some chips and brown...

Group of 21 reclaimed glazed tiles by the makers Carter Tiles displaying ochre and buff stylised Tudor roses. These 3-inch tiles could be used in several ways including a decorative panel or a vibrant splashback for a vintage kitchen. Supplied loose, these tiles are antique and as such have a characterful, timeworn look with scuffs and crazing here and there that only enhances the beauty of their striking pattern. This set also includes some extra tiles with minor flaws. Carter Tiles Carter Tiles was founded in 1873 by Jesse Carter, a builder’s merchant and ironmonger from Surrey, bought James Walker’s brick and tile business on the East Quay at Poole. By the 1880's Carters...

Make a statement with this most impressive patriotic antique American architectural painted metal eagle finial on later wooden base. Late 19th / ...

Pair of columns or “somno” from the Empire period in France. These were originally used as nightstands. The period circular pair sit on a larger circular base and are crafted of bent...

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...

Antique French Empire Brass Bronze Urn Finial Slender Column Andirons with Desirable Patina and Branch Feet - a Pair. Circa Late 19th Century. Measurements: 22" H x 11.5" W x 18" D.

With brass top rail and decorative wire swag and screen below.

A Chinese Antique Shop Sign with Carved Calligraphy from the 19th century with dark brown/black lacquer, calligraphy carved in low relief and iro...

Antique 19th century Dutch Provincial marble-top ceramic tile stove, Circa 1880.

Very impressive castle mantelpiece made of French limestone from the 19th century in style of Louis XIII. This antique mantel has a beautiful wide front section, making the mantelpie...

Antique pair of Botticino marble columns with original stone capitals and bases, classic and elegant in shape. They have small age-related flaws and defects visible in the photos, bu...

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

A fantastic sculptural 19th century grain mortar of one piece of wood with a wonderful patina that glows! Would be an incredible waste paper basket in a powder room or office. Could ...

19th Century Dutch Door Knocker A heavy door knocker with a coat of arms on top in between scrolls, with a dragon twisting around the handle to the right and left. The knocker is ch...

Pair of tall painted doors with original hardware. Will need new glass. Other doors available but not with glass panel. Doors can work well in Swedish Gustavian style decor

Pair of stunning stripped 19th century French doors with wrought iron, featuring bold molded detail framing the lower panels as well as the intricate wrought iron inserts above, whic...

A late 19th century folding gilt brass tapestry banner arm in the manner of James Cartland & Son of Birmingham. Length fully extended: 22 inches. For similar designs see James Car...

Beautiful unique fireplace made of French limestone! This antique mantelpiece has very beautiful shapes, ornaments and lines. A fireplace from the 19th century in the style of Louis ...

This matched pair of antique hand-carved walnut wall brackets were salvaged from an early Victorian house in Montreal, Canada. The brackets are unsigned, but presumed to have originated from Canada in approximately 1850 in the period Victorian style. The brackets are solid walnut in their composition and have ornate decorative carvings. These wall corbels...

Rare pair of small wrought iron fire dog andirons with decorative brass finials.

An antique late 18th/ early 19th century Italian Statuary marble mantlepiece of fine quality Small in scale and beautifully made in Italy around the year 1800. The exquisitely carve...

A stunning pair of early majestic French doors; solid paneled frame construction with 4 panels each. Taken from an important chateau in France, these doors will add importance and el...

Antique double interior door, made of solid wood lacquered and painted in the panels, enriched with wavy and gilded mouldings. Wavy panels carved and painted with curl decorations, f...

Dated to the mid-19th century, this low, terracotta pedestal base from Shanxi province likely originated as a column base or as the display plinth for a large Buddha statue. The roun...

Neoclassical Statuary Marble Mantelpiece A beautiful, detailed and finely carved statuary white marble fireplace mantel in Neoclassical style. The superb molded shelf with perfect egg and dart edge decor sits over a finely carved frieze which is delicately carved with a stylized hanging foliate design. This is centered by a tablet depicting a trio of scenes with putto in various roles; affection, peace and jealousness. The endblocks show a sprawling bloom above a tapered block decorated with the feathered ends of arrow. The jambs echo the finely detailed frieze with floral motifs and wrapping leaves at the bottom. The inner moulded opening is superbly carved lambs...

Neo-Gothic fireplace in French sandstone.

Antique French Wall-Mounted Statue of Cast Iron Horse Head Dimensions: 13.5”W x 24”H x 18”D

A rare English brass fireplace fender in a twig or branch motif from the mid-19th century.

A 19th century industrial style mesh decorated wrought iron gate having beautifully weathered patina, substantial hinge and handle. Would make a wonderful gate for any garden or outd...

Impressive Napoleon III style Lamartine yellow marble fireplace Hearth dimensions: 78 x 98 cm

More information coming soon… This beautiful interior door was hand-carved in pine in Marseille, France, during the 1800s. The rich brown patina accentuates the three geometric pan...

Introducing Our Personal Favorite: The Epitome of Elegance and Craftsmanship Experience the epitome of sophistication with our meticulously crafted fireplace mantel. A harmonious blend of elegance, style, and artisanal mastery, this exquisite piece showcases a carefully curated selection of luxurious marble. Radiating a gentle aura, the mantel is adorned with meticulously executed Art Deco floral and bow motifs. The front panel boasts a breathtaking artisan-carved bow centerpiece, embellished with intricate roses and a symphony of blossoms. Impeccable proportions define this masterpiece, beautifully realized in opulent marble that exudes an air of refinement. Elevate your living space with a touch of opulence as this captivating creation becomes the centerpiece of your elegant abode. Unveil the allure of true luxury as you envision this extraordinary marvel gracing the interiors of magnificent homes, each one uniquely transformed by its presence. * Baseplate included. * Accessories Excluded Chimneys The antique fireplaces on my website have been fully restored and are available from stock. Transport and installation is made easier because the fireplaces are already pre-assembled. The antique fireplaces are cleaned and put in the marble wax again, this ensures that the fireplace regains its original deep shine. This maintenance-free marble wax also provides the fireplace with a dirt and water-repellent layer. If you have any questions, don't hesitate to contact me. Renzo van...

A large Qing Dynasty period black signboard from the 19th century, with red calligraphy. Crafted during the 19th century Qing Dynasty, this large signboard once adorned a temple, gui...

One of a pair of 19th century French grape picking hods / hottes with later paint decoration. 1900. Code: 8975 Dimensions: W: 29" (73.7 cm) H: 32" (81.3 cm) D: 19" (48.3 cm)

A large antique French copper watering can with a very nice patina. Hand-hammered copper can with a non-detachable pouring spout. ...

An elegant and high quality pair of French 19th century Louis XVI st. Saint Pons Marble and Ormolu urns. Each exceptional lidded urn is raised on a square Ormolu base with concave co...

Found in the South of France, this pair of 19th Century French Armoire Doors once graced a beautiful armoire that was made in the 1800's. Hand crafted from walnut, the doors display ...

Dating to the 1800s, this imposing French plaster pot a feu (“fire pot”) has been paired with a wooden pedestal that features a well-done orange and brown ...

An impressive polished steel fire grate in the Georgian style. The tapering, engraved legs with paterae and guilloche urn finials. The serpentine fret with paterae and U-shaped burni...

A grand and original Rococo treasure in white Carrara marble from the golden period in Paris, 19th century. This chimney piece is in a great condition and will be the masterpiece to ...

Remarkable weathered aged temple fragment of a mythical warrior made of tropical hardwoods on a museum mount of black Formica with short steel rod supp...

Large Dutch neo-Renaissance antique fireplace, very impressive and grande. Marble jambs made from beautiful black and green "vert de Patricia". Oak frieze with paneling and superb ca...

Dr C Dresser for Benham and Froud, stamped mark to base. An Aesthetic Movement brass fire bucket and shovel with an organic whiplash handle, rising ...

Antique Limestone Door Surround Dimensions: - Overall: 90 1/2”H x 57”W x 6 3/4”D - Interior: 82”H x 30”W x 6 3/4”D Beautiful texture and patina.

A very Fine and rare French 19th century Louis XV style giltwood carved Vernis Martin Stylefl fireplace screen. The rectangular carved giltwood panel surmounted with four circular oil paintings...

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...