19th Century Building and Garden Elements

Enamel Ceramic Planter, Attributed to Jerome Massier, France, Late 19th Century.

Very heavy gauge and possibly made as a carriage step. Otherwise placed by a fireplace to rest a kettle.The thick rectangular brass top with central head of Victoria flanked by the c...

Important early 19th Century antique fireplace in Statuary Carrara marble with quiver-shaped columns and gilt bronze ornaments. Its original provenance is Chateau de la Gesse - Boul...

A pair of monumental solid satinwood doors with classical egg and dart carved decoration and fine quality brass door furniture. Brass door pulls marked CHING (Comyn Ching of Londo...

A good stylish Glasgow School brass trivet attributed to Margaret Gilmour with stylized Celtic interlaced details on three angled legs with out swept feet.

Continental German style (19th Century) bronze double lion side door pull.

An antique English stained glass window depicting Ernest Shackleton's Endurance, set in gothic pine arch-top frame. This striking stained glass window showcases a detailed hand pain...

A 19th century French Louis XV style fireplace in Spanish Brocatelle marble. The frieze with shell to centre and carved panels. The panelled jambs su...

A tall and boldly carved, columned walnut trumeau fireplace in the Renaissance style. The upper frieze, with a central cartouche flanked by floral scrolls, is set above the main frie...

C R Ashbee, attributed. An Arts & Crafts cast iron fireplace, central circular mirror with stylised copper frame overlooked by twin kissing doves with displ...

Pair of pinnacles Northern Italy, mid-19th century Botticino marble, carved They measure 33.1 inches in height x 17.7 x 17.7 (84 cm x 45 x 45) State of conservation: some visible cracks and various small gaps. The two twin architectural elements of sculpted Botticino marble have a quadrangular base from which a chalice-shaped foot extends. Resting on this, a round pod-like element swells up to support a large pine cone. This is the main decoration: however, the other ornamental details enhance and embellish it, while exalting its position above, whether observed from afar or up close. These aesthetic characteristics suggest that originally the pair of pinnacles were placed on columns or on architectural plinths...

An antique Edwardian mahogany fireplace. This stunning fireplace is finished in a handsome dark original French polish accompanied flame mahogany veneered frieze and stylish jambs fe...

Unique and elegant fireplace fender or surround beautifully crafted from metal and brass with tapering drip pans and encased brass floral themes in fine scrolling detail. A one of a ...

Antique wooden dough trough on original stand in unrestored, untreated original condition. A beautiful home decoration that can be used in ...

"Free shipping in florida" They were exhibited at Palm beach "American International Fine Art Fair (AIFAF)" The sculptures are Height: 136.5 cm (53.74 inch) Diameter: 28 cm ( 11.02 ...

This 19th century marble fireplace surround is very unique and in perfect condition. Its lines and its form have very nice movem...

A French pair of tall carved wood columns from the 19th century. This antique pair of wooden architectural elements from France, standing approximately 7.25 feet in height, each feat...

2 Carousel style (19th Cent) stripped and carved wall plaques (valance) with crown shape and geometric design (PRICED EACH)

Expertly crafted in the 1820s, this French Ardennes Grey Marble Mantel exudes elegance and sophistication. Its Louis XVI design features a carved motif in the center and on the mante...

A Spanish hand-carved limestone trough from the 19th century, possibly older. This antique stone trough from Spain has an overall rectangular shaped body and has been hand-carved out...

Fireback having a shield form with a relief heart and signed on verso AES. Accompanied by a pair of Arts & Crafts style andirons with a faceted goose neck sphere atop the standard, h...

A carved marble figure of a faun playing the flute, the figure’s head is tilted to meet the flute in playing position, with left leg crossed in front of the right leg, and with left ...

A large brass bucket with iron bound upper rim with swing handle. Solid feeling with good weight and fine traditional form. Dimensions: 22 1/2" di...

White Carrara Marble Louis XVI Mantel circa 1880

An antique Italian woman face from a garden fountain, made out of heavy painted cast iron with a rich originally patina. Italy late 19th century.

Antique gilded bronze ashtray, richly carved with 4 cups, festoons and decorations, original from the 19th century, originating in Italy Measurements cm w 95 x H 30 x D 10

Fine mid-19th century English brass and iron fire screen or nursery guard having half round brass rail over wrought iron framework with iron wire mesh having swag decoration, retaini...

A large and very decorative watering can dating to the industrial era. Tin lined. With both a side handle and large top swivel handle with decorative attachments on the sides. The open center on top lacking a lid. Measures: Height with handle 15", diameter base 11" Condition: verdigris around joins, worn interior, expected dents overall from use with the copper watering can...

Important French Napoleon III carved Rouge Griotte Marble and ormolu mounted figural fireplace mantel chimneypiece. The rectangular carv...

A pair of Chinese sculpted and polychromed temple guardian lions architectural wood carvings. Born in China during the 18th or 19th century, each...

Middle Eastern Moorish style (Italian 19/20th cent) Majolica porcelain life sized green and yellow cobra, coiled with a raised head.       

A reclaimed antique double basin or sink by Morrison Ingram & Co. Registered design number 24404. Constructed with a slate top, and under-mounted ...

A large, Probably Scottish, 19th century mid Victorian arched fireplace insert with applied brass embellishments. A wide and generous polished outer plate...

Pair of English Regency tole chestnut urns with hand-painted floral decorative motif, removable lids with acorn finials, original lions head side ha...

Antique Lecce stone fireplace, small size, with leaf bas-reliefs, so it can be installed in any interior, original from the 1800s, from southern Italy, maximum outside measurement L ...

This pair of Gothic wrought Iron andirons has iron shells used as a bar holders. They are French, 19th century.

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...

Heavy Arts and Crafts Copper and Wrought Iron Log Bin This is a very good quality copper piece, it is made in hand beaten copper, and set in a wrought iron carrier with a riveted ...

A very unique and Antique Belgian bluestone village pump with grate from the 19th Century.

Antique Carrara marble mantelpiece from the 19th century! This mantelpiece is in the style of Louis XV and has a beautiful scallop in the middle of the front part and continuous on t...

A timeless classic, with lovely wire-caned seats and oval backs, scrolled arms and elegant splayed legs. Original patina: light grey with previous yellow paint visible beneath. Very...

This exquisite set of antique copper pots showcases the warmth and character that only time can create. Handcrafted from solid copper, each pot features an aged patina, telling a sto...

These tall antique Louis XVI style room dividing doors are one of various sets reclaimed from the American Embassy in Paris. Dating from circa 1870, these antique doors are generous...

Late 19th century carved wooden fireplace mantel salvaged from a historic New Haven CT. estate. This is a beautiful hand carved wooden fireplac...

Please request updated photos as this urn has been repaired and the finish may be different than these older photos. Silk flowers not included but available in another listing. Late 19th century garden urn. This beautiful piece is most likely produced by J. W. Fiske and Company although a signature cannot be found. This incredible detailed Victorian piece can be used in or outdoors. The date is stamped on the pedestal base side and we think it reads : May 25, 1875 J. W. Fiske & Company of New York City was the most prominent American manufacturer of decorative cast iron and cast zinc in the second half of the 19th century. In addition to their wide range of garden fountains, statues, urns, and cast iron garden furniture...

Pair of Italian Renaissance-style wrought iron andirons with an upper and lower spike & basket design with open scroll base & griffins supporting a cross bar (Attributed to SAMUEL YE...

Large Strapwork Blacksmith Made Iron Game Hanger, Kitchen Utensils or Pot Hanger A great old piece with lots of Character, if you don’t need it to hang your game on how about your p...

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....

Antique cast stone and shell form birdbath. Great antique condition, nice wear and aged patina will add interest to any outdoor space.

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 ...

An antique York stone statue of King Caractacus. Signed Morton, South Street, this over life size statue displays a powerful stance and characterful weathering. It certainly is a impactful and striking sculpture in expertly carved York stone...

Functional and beautiful 19th century French Napoleon III roasting jack made of cast iron, wrought iron, brass and copper. It is used for cooking in a kitchen fireplace. The set cons...

Expertly crafted from 1820 French Villefranche Peach Flower Marble, this marble mantel boasts intricate carvings and a stunning carved shell motif. Enhance your home's aesthetic with...

A large antique steel fire grate. Lovely and impressive formal piece that would work great in a larger mantel. It has some lovely decorative and traditional urns on top of tapered...

They were exhibited at Palm beach "American International Fine Art Fair (AIFAF)" Sculpture with lampshade Height: 162 cm (63.77 inch) Sculpture Height: 142 cm (55.90 inch) Diameter: 30 cm ( 11.81 inch) The lampshade of the sculpture are not the original. We bought it without a lampshade. He has a missing finger. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Val D´OSNE The popularity of cast iron in the second half of the 19th century was greater in france than anywhere else in Europe, where the firm of Val D'Osne had come to dominate production of cast-iron ornamentation. Officially known as Société Anonyme des Hauts-Fourneaux et Fonderies du Val-D'Osne, Anciennes maisons J. P. V. André et J. J. Ducel et Fils...

A pair of Gothic Revival cast iron hinges, circa 1875 They are painted green one side.

French polished brass jardinière or container, lion ring handles, 19th century.

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 antique French Louis XVI style Carrara marble fireplace, nineteenth century, with rope-twist frieze and scrolled jambs (sold without hearth). Dimensions: 106cm (41¾") High, 125cm ...

A simple late 19th century Scottish polished fire grate in the manner of Robert Adam. A square back plate with scalloped sides, below, a polished fire apron mounted with splayed finials, a four barred curved fire front...