19th Century Building and Garden Elements

Pair of white marble tops paved in Medicean breccia, finished with chiseled gilt bronze lash and worked with successive leaf motifs.

A pair of antique doors with stained glass panels. We have two sets available.

A truly distinguished example of early 19th century French neoclassicism, this Louis XVI-style mantelpiece showcases the rare and richly veined Rouge de Languedoc marble, elegantly a...

2 PairS of American Victorian oak full length saloon doors with bevelled glass center (PRICED PER Pair)

Antique Pompadour mantle fireplace in Rosso Francia marble, carved with a typical pompadour shape, from the 19th century and from France. Maximum exte...

Large 19th Century zinc finial with decorative swag and mould detailing. With a good time worn patina. Wonderful display piece for garden, orangery or console table.

Beautiful carved antique French limestone mantel fireplace. The chimney is in Louis XVI style and dates back to the 19th century. In the fro...

Late 19th. century celadon crackle glazed bird bath featuring a large scalloped bowl on stand.

Antique stained glass transom window in its original wood frame. This is a beautiful antique stained glass window with colors that...

A brocatelle Jaune marble, set on a square and terraced base with gilted bronze details in Napoleon III style and period, circa 1870 Take into account that the colors on the items m...

Pair of Asian Chinese style (late 19th/early 20th Century) red painted doors inset with pierced & relief carved polychrome lacquered panels (PRICED AS Pair).

A Fine English 19th Century Victorian Ebonized Wood and Edged Bone-Inlaid Summer Fireplace Screen. The ornately decorated screen centered with a needlepoint tapestry of a Tarot card ...

Classic pair of Empire style antique brass andirons with aged patina. Wonderfully handsome, will add style and character to any fireplace. OAL ...

Antique church window with colored geometric glass panels. Beautiful design that lets in the light! Currently housed in a wooden frame - the over...

George Jennings marble lift-up sink. A marbleised sink basin designed by Jennings which appeared in the Great Exhibition of 1851 alongside his toilets....

A very powerful antique cast iron Victorian black Gothic fire basket. With Very Unique Andirons as stylized griffins with rings through their noses an...

An early 19th century pair of Baroque hand carved and painted wooden architectural salvaged exterior building elements, now repurposed and fashioned for use as one-of-a-kind pedestal tables. Intricately detailed, whimsical sulptural design, executed in classical corinthian column capital form, having spiral scroll volutes, acanthus leaf carvings, figural ancient mask...

19th century French Napoleon III fireback with a cupid. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter. The condition is...

Victorian Wrought Iron Side Gate. An attractive side gate with an impressive finial and scroll work. What is Wrought Iron? Wrought iron is a typ...

Generously proportioned brass bombe (helmet form) coal hod on a circular footed base. Hand hammered brass with cast brass tilter grip and pivot fittings for the bail handle. Dove tai...

A pair of traditional pedestals made in France in the 19th Century, made of rouge griotte marble plinths and D'ore bronze details, including claw foot supports on the base. Dimension...

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...

This 19th century fireplace mantel (fireplace) is from the Burgundy region near Clos Vougeot in France. It has very rich and exquisite carving making it quite distinctive. A fine Art...

A wonderful early 19th century Jardiniere from the South of France. Handsomely crafted from iron. Terrific for any interior of garden.

A pair of gilt brass door handles with amber coloured cut glass by James Cartland & Son of Birmingham, circa 1890. See: James Cartland & Son catalogue, 1886, page 291.

A pair of carved white granite classical urns with floral decoration on the bodies. Custom-made marbleized wood pedestals. Measure: urns are 26.5 tall...

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...

Expertly crafted in Italy, this midcentury terracotta planter boasts intricate Greek carvings of Gods. Its large size is perfect for showcasing beautiful...

Pair of 19th Century Italian Tan & Green Marble Columns/Pedestals

Very lovely decorated, small cast iron fireplace from the 19th century. The firebox opening is: Height: 15,55 inch (39.5 cm) Width: 17.71 in...

Hand Carved Round White Marble Shower Tub Basin Antique Water Center Fountain CA . Large 19th Century Charming hand sculpted White Marble water fountain Basin, Full of character with simple hand finished lines , reminding us of living in the simplicity and authenticity of everyday life. Very Artistic and Creative, add to that a good Diameter and Depth to turn it into a standing bathroom Shower basin such as the example “THE SHOWER” in the Royal Suite, of the most photographed shower in the world in the heart of Salento in Puglia, a 19th-century Palazzo Daniele. Imposing Piece of History for a unique home that needs a touch of Magic and Charm. You could have it installed outdoor by a pool for a quick shower or in an interior with a drop down ceiling ShowerHeaven such as the one designed by Philippe Starck mimic the rain showers. or you could install it with a bronze spout in the center bubbling , or a spout statue...

A handsome and most decorative pair of French 19th century Louis XVI st. Black Belgian marble and Ormolu Urns. Each beautiful urn is raised on a squared stepped marble pedestal with ...

This early 19th century Georgian antique wrought iron pedestrian gate would bring an instant classic look to the front of a home, or garden. Its original working latch, and hinge eye...

A beautiful antique Victorian cast iron sheaf of wheat door stop USA, Late 19th Century Measures: 7.5"W x 2.25"D x 9"H. Excellent original vintage condition.

A fine French 19th century whimsical Rococo style white marble carved planter jardinière with figures of playful Putti 'Children' playing with a goats among trees and vines, raised o...

Highly stylish, inspired by Georgian-ear classical form of an English garden chair, sometimes referred to as “chinoiserie” or Chinese Chippendale style, but also known in Britain as “cockspen” chair. This chair is large and commodious, generously proportioned, it's a great choice indoors or out. The garden/patio chair...

A large antique reclaimed stained glass chapel window sourced from a chapel built in 1850. Tall in scale, the panels are decorated in pastel colours, forming an arch at the top, whic...

This is an exceptional set of palatial hand carved hardwood and lacquered set of doors (two pairs are available). The doors Measure just short of 10 feet in height and are in overall very good condition considering age and use. Each door features four panels carved with Chinese symbols together with a large central panel with open work or tracery in a modified quatrefoil pattern. The tracery is all in very good condition with no faults noted. The doors retain their original brass hardware. The height of the doors is impressive; these doors could be configured as a large 4 panel screen...

N.3 antique double doors, built in solid poplar wood, then lacquered and hand painted in the panels with figures of flower pots. Complete with original frame, lacquered back, all wit...

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...

A pair of late 19th century ebonized tripod vase stands, carved with Griffins heads and floral motifs, retaining faint gilt highlights. English, circa 1880.

High Victorian wrought iron wire work medallion fires screen, a substantial screen with intricate wrought iron wire work, with a 26-inch diameter medallion.  

A single Turkish raised panel door from the 19th century. This antique door from Turkey has a nice 11 raised panel design on its front side, with bea...

19th century Italian tole corona-original patina.

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

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

Scottish cast iron umbrella stand with decorative urns, swags, and floral motif resting on a molded edge rectangular base with two removable pans for water . Mid-19th century. Carron...

This antique planter is unsigned, so no specific maker could be determined, but it is presumed to have been made in the United States in circa 1890 in the period Victorian style. The...

Beautiful cast iron andirons. Weight: 14 lbs / 6 kg. Upon request they can be made black / pewter. See all our antique fireplaces and fireplace accessories at 1stdibs by pressing ...

American Victorian natural wicker woven roll design high back loveseat with spindles and bobbins on back and apron. (LARKIN & CO. label)

Antique Decorative Corner Urinal with floral printed pattern. Very unusual piece in excellent condition.  

An antique copper double ended bath tub, originating from France circa 1870. This beautiful zinc-coated copper bath with stylish rolled top was reclaimed f...

An antique buff terracotta statue depicting a Renaissance figure possibly by Blanchard. We are also selling a group of 3 similar figures as well as ...

You can imagine this Victorian internal door with stained glass situated in a period kitchen or in the entrance hall of a traditional Victorian townhouse. This mahogany door is over 140 years old, dating from the late 1800s. It is fitted with fully restored glass in an understated Art Nouveau design comprising of clear textured glass around pale green details. The wood has a stripped finish and warm colour while cuts of wood carefully chosen by the craftsman make a feature of the beautiful mahogany woodgrain. This Victorian stained glass door...

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...

Pair of English Victorian Gothic style (19/20th Century) painted iron gates with 4 flames on top and clover leaf design (PRICED AS Pair).

French (18th Century) oak Boiserie Panel with a large vertical andd smaller lower horizontial panel with carved trim

A 19th century brass coal receiver, with ring handles, lidded, beaten body embossed with ribbon and studs, on pad feet - 12" diam x 15"h

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

Beautiful pair of French cast iron urns. Shades of original leftover paint.