19th Century Building and Garden Elements

Solid and striking, this pair of antique French oak doors once marked the entry to a stately home. Crafted from richly grained oak, the surface bears a warm medium-toned finish that ...

A rare and exceptional reclaimed large two part leaded stained glass French Door / Window. Features a large rectangular frame with two 2-part hinged doors with separate operating win...

This large terracotta olive jar was made in France towards the end of the 19th century. There are three looped handles equally spaced around the top of the jar. Bands of ribbed patt...

Wonderful stone carving of a kings face. Probably English. I have dated it at least, 19th century. It is most likely earlier than this. Difficult to be precise. Free UK shipping

This extraordinary original antique fireplace mantel, carved in 1857 in Beaune, Burgundy, is a rare and historically anchored artefact from France’s Second Empire under Napoleon III....

A reclaimed pair of 2-panel cupboard doors from 19th-century England, crafted from raw pine with classic beveled trim. Whether used to enclose a built-in cabinet or mounted as archit...

This original 19th-century French fireplace mantel, carved from soft-toned limestone, epitomises understated elegance. The hand-carved surface bears authentic tooling marks, enhancin...

Originally used in a French brasserie during the late nineteenth century, this white enameled cast iron bistro table or cafe table features a solid white oval marble top with grey ve...

Dating to the early 19th century, this pair of French provincial wardrobe doors offers timeless architectural beauty with their dry-scraped surface revealing soft layers of cream, sa...

This authentic 19th century Belgian Louis XVI style fireplace surround is crafted from exquisite Belgian Royal Brown marble. The Belgian marble is prized for its deep brown base inte...

19th Century Antique Hand Carved Pink Marble Double Basin Kitchen Sink

For Sale: Elegant Antique French Limestone Fireplace Mantel – Timeless Rustic Charm Bring timeless French elegance into your home with this authentic antique limestone fireplace man...

A Late 19th Century Victorian cast iron fireplace insert with its original tile set. A generous outer frame, with a raised cast border, two sets of hand painted tiles showing spring...

George Trollope and Sons. Exhibited at the Paris Universal Exhibition in 1878 winning a Gold Medal for Excellence. The set forms the four sides of a complete panelled room that was exhibited as a boudoir room or petit salon at the Paris Exhibition 1878 . The main feature and centrepiece of this boudoir room is the Rosso Antico marble fireplace surmounted by an open display niche carved in cedar wood. Each side of the room is composed of various panels and are as follows: One side with a grand Rosso Antico marble fireplace flanked by two doorways. One side with French doors originally opening onto a balcony, flanked by two large bookshelves. One side with a window flanked by two mirrors. The opposite side with three large mirrors. The complete room measures: 21 ft / 6.4 m wide, 17 ft / 5.18 m deep, and 12 ft / 3.65 m high. It could also be used in a number of different combinations to suit various room layouts. The mirrors could be replaced with windows or further bookcases. Each side is decorated with various sizes of finely carved panels and holds ornate Corinthian style columns surmounted with cherubim's on the capitals. Three cherubs are formed at the top of each corner with three columns, at the column bases there are circular carved pedestals to display statues. Published & illustrated in the ‘Illustrated Catalogue of the Paris International Exhibition’. The main part of this room, the Rosso Antico marble fireplace is surmounted by a large open display niche carved in cedar wood are illustrated with a line drawing in the Paris Universal Exhibition catalogue on page 209. The whereabouts of the seminaked caryatids and the marble bust of Alexander Pope are unknown. The bust of Alexander Pope was copied from the original one in Westminster Abbey, London. The Corinthian columns now flanking the niche above the fireplace are also in cedar wood having the identical carved fluting to the rest of the room and were made to replace the caryatid figures. Those Corinthian columns are period to the room and can only have been made shortly after it arrived back to London and before it was reassembled and fitted into the house built by George Trollope and Sons in the 1880's, and where we removed it all from. George Trollope made clever use of Alexander Pope's early 18th-century poetical successes in Great Britain and France by using ‘The Rape of Lock’, a mock-heroic narrative poem Pope wrote in 1712 about Petre who cut off a lock of Arabella’s hair without her permission, as the theme of the boudoir room or petit salon at the 1878 Paris Exhibition. In the original exhibition display of the room set, tapestries depicting the Rape of Lock were hung where the mirrors are now positioned. Alexander Pope's The Rape of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on an actual incident among two families of his acquaintance, Pope intended his verses to quench hot tempers and to encourage his friends to laugh at their own foolishness. The poem is an outstanding example in the English language of the genre of mock-epic. The 'epic' was considered one of the most serious of literary forms; it had been applied, in the classical period, to the trivialities of love and war. Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The Rape of the Lock underlines the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The 18th-century society in this poem fails to distinguish between things that are important and things that are not. The poem mocks the men it portrays by representing them as unworthy of a heroic culture. Therefore the mock-epic follows the epic in that its main concerns are serious and moral. The point that the theme must now be satirical rather than earnest is symptomatic of how far the culture has fallen. Retaining the original exhibition label The back of the panelling still retains two original labels printed with the 'Union Jack' and printed adjacent to it, 'The Secretary Royal British Commission for the Universal Exhibition 1878 Champ de Mars Paris'. Adjacent to that and below, printed and written in ink vertically: Exhibitor: (and signed in ink) George Trollope & Sons. Address: (written in ink) Halkin Street West. London. Allotment in Block: (written in ink) a2. In the printed floor plan 'a2 square' is in the very first line to the right of the floor plan and handwritten in ink with a 'diamond shape' also written with '101' within it. This pin points where George Trollope's stand was located. With thousands of items being displayed at the Exhibition, this label would have been the floor plan for the craftsmen, so they knew the correct place to install the boudoir room or petit salon. The firm continued expanding house building and interior decoration side of the business and by 1849 was also trading as an estate agency, letting and controlling property for the Grosvenor Estates. A separate branch of cabinet-makers, bearing the family name, was opened at West Halkin Street, London. becoming known as 'The Museum of Decorative Arts' (looked after by George Robinson). Here Trollope and Sons also sold high-class antique furniture made by other makers. In 1851, the firm became formally known as George Trollope and Sons. West Halkin Street, London. The address was recorded in the listing for the firm in The Furniture Gazette Directory, 1876 & 1877. Period Press Coverage & Art Critic Review. everal newspapers also thoroughly describe George Trollope and Son's stand including the different tapestries that were hung where the mirrors are now, illustrating the poem 'The Rape of Lock', by Alexander Pope. Marius Vachon, a French Art Critic and journalist, who wrote for the journal ‘La France’ published an extensive review of the Trollope and Sons stand in a book called Les Merveilles de l'Exposition de 1878 (The Wonders of the 1878 Exhibition). Note: In the World Fairs translation it states door frame, Marius Vachon had originally written ‘chambranle’ in French, 'chambranle' loosely translates to a frame around something, and should read in its correct context: ‘fireplace in rosso antico’. We have taken the extract below written by Marius Vachon in its translated form from: Les Merveilles de l'Exposition de 1878, (The Wonders of the 1878 Exhibition). This puts into perspective the importance of this fine quality room interior when he viewed it at the exhibition in 1878: Marius Vachon: English furniture is very curious to observe; irreproachable from the point of view of execution, the furniture of our neighbours always reaches the last degree of respectability and comfort. One thing to be noticed is that for large pieces of furniture, the English upholsterer is transformed into a sort of architect; everything he makes takes on a monumental aspect. The first object that catches the eye when one enters the furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. The boudoir (or petit salon), of carved cedar wood, is an attempt to reproduce the style which prevailed in England during the first decade of Queen Anne's reign, and all the details have been studied, but not copied, from examples of decorative work of the time. The fireplace is in "rosso antico" movement, and the ceiling is in portable plaster. The panels painted on canvas represent scenes from the heroic-comic poem "The Abduction of the Hairpin," (The Rape of Lock) written by Alexander Pope in 1712, the eighth year of Queen Anne's reign, in which the customs and mores of the time are satirized in a pleasing manner. The apotheosis of the Loop and its sidereal transformations will form the decoration of the ceiling. In these illustrations of Pope's charming poem, the costumes and accessories have been taken from models of the time; and the bust of the poet, copied from his tomb in Westminster Abbey, occupies the niche in the centre of the mantelpiece. M. Marius Vachon, the period writer of the above continues with: Now we shall mention at random the magnificent dining table of Messrs. Johnston and Co., their oak mantelpiece, their boudoir table; Mr. Watt's drawing-room mantelpiece stepped in the old style and imitating the Japanese; Mr. James Shoolbred's great The Decorative Arts Society on Trollope and Sons The boudoir or petit salon is mentioned again in the Decorative Arts Society: Trollope did not exhibit such highly rated objects at the 1878 Paris Exhibition as at previous exhibitions; items included a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair (illus. Meyer (2006), p. 242) and probably two rooms; one was a boudoir in cedar wood in Queen Anne style and the other was a boudoir decorated by the firm in the theme of Pope’s The Rape of Lock. In the above extract, it is quite clear that the two rooms mentioned are in fact the very same room, because the fireplace and niche are illustrated in The Paris Universal Exhibition catalogue on page 209 and Marius Vachon describes the rest of the room set in the above… Trollope and Sons exhibition pieces listed and described by Meyer in an article he wrote for: The Decorative Arts Society 1850 to present, Journal 25 in 2001., where he points out the importance of George Trollope and Sons and mentions a table by Trollope exhibited at the 1867 exhibition that sold for £40,000 in 1996. He also mentions a cabinet exhibited by Trollope at the International Exhibition of 1862 that sold at Sotheby's in 1997 for £150,000. Interest was not as strong in the 1990's as it is today for rare exhibition pieces, high quality items were abundant back then, it was a golden era when the most beautiful works of art just kept coming onto the market. But there are exceptions as in this instance, when a unique, gold medal-winning exhibition work of art comes onto the market for the very first time. Meyer continued researching and writing about the great exhibitions and released his book in 2006, 'The Great Exhibitions, London, New York, Paris and Philadelphia 1851- 1900, where he mentions only in passing, The Boudoir Room or Petite Salon exhibited by Trollope, he even states that an image was not reproduced and that Trollope's exhibits in 1878 were not up to the quality and class of the items Trollope exhibited in London in 1862 and Paris in 1868. This is probably because Meyer didn't know of the line drawing illustrating the Roso Antico Fireplace, Niche and Panelling reproduced in The Illustrated Catalogue of the Paris International Exhibition 1878 shown in the above which Geering recently uncovered. John Meyer continues in the DAS journal: Undoubtedly they (Trollope) are a firm worthy of further research as they were right at the forefront of the furniture business in London from 1860 to 1880. Our research shows that the Petite Boudoir was awarded the gold medal for excellence in 1878 (see Journal La Liberté 23-10-1878 with the list of all medals attributed), something George Trollope and Sons did not achieve at the London 1862 and the Paris 1867 exhibitions. Jonathan Meyer joined Bonham's in 1977. He was Director at Sotheby's in charge of 19th Century Furniture from 1994 to June 2007. He was also chairman of the Fine Arts Faculty for The Royal Institute of Chartered Surveyors. In the original description from the article in Les Merveilles de l’exposition de 1878, M. Marius Vachon states: The first object that catches the eye when one enters the (English) furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. Suggesting, it was in his opinion the very best on display in the English section, and being awarded the gold medal for excellence can only add weight to this. Adjacent to the original label that was printed by The Secretary - Royal British Commission for the Universal Exhibition 1878 in stencil ‘TO BE KEPT’, i.e. ‘to be returned’. This confirms why it came back to London. We removed the Boudoir Room or Petite Salon from a Trollope house, part of a grand high-class housing estate in London which around the time of the exhibition Trollope and Sons were in the process of building, and where the room set was installed directly after it returned from the exhibition in 1878 until now. Worthy of note is the machines that did the carving for the Boudoir Room or Petite Salon and also did all of the decorative carving (most of which was linenfold carving) for the Houses of Parliament, London. This machine, the engraving and description of which we copy from Engineering, was specially designed by its inventor, Mr. Jordan, for assisting in the production of the vast amount of carved decorations required for the walls and ceilings of the Houses of Parliament, London, and it was so employed during the entire progress of the work. The late Sir Charles Barry was so well satisfied with it, that he frequently declared it would have been impossible to have accomplished the work without it. The Department of Woods and Forests employed five of the machines at the Government Works, Thames Bank, for several years; and the machines have now passed into the hands of Messrs. George Trollope and Son, and are still used in the same building. They also exhibited the new technique of xylatechnography and sgraffito, methods of impressing coloured design into soft wood and engraving veneer to reveal the base wood. The newspaper, La Liberte October, 23rd 1878 listing the medal winners of the Paris 1878 exhibition. Third column, ''GROUPE III MOBILIER ET ACCESSOIRES'', (GROUP III FURNITURE AND ACCESSORIES). Medailles d'or. (Gold Medals) where G Trollope et fils (G Trollope and Sons...

A heavy cast iron 19th Century Parisian boucherie or presentation table (like those found in a butcher shop or bakery). Recently powdercoated in a refreshing shade of Caribbean blue ...

An alluring French brasserie table, from the late 19th century with a removable white marble top on a cast iron frame of exotic ornamentation. This classic French bistro table has th...

A large and grand 19th Century Scottish Victorian arched spandrel fireplace surround in well figured Carrara marble. A generous top shelf with an edged profile sits gracefully abov...

A reclaimed raised 3-panel configuration French door with grooved and beveled trim detailing. With its wonderful weathered patina and layers of old paint, this door will instantly ad...

Elevate the contemporary ambiance of your home with the addition of a reclaimed English pine door, boasting a 2-lite over 2-panel design. Beveled trim accents highlight the door’s ha...

An original French brasserie table, circa 1890, with a removable white marble top on a cast iron frame. The stone top has flat edges and a smooth, although patinated surface clouded ...

An antique 3-panel French door featuring raised beveled trim and grooved details. Instantly add authenticity and old-world charm by installing this door in your modern home. Salvage...

A reclaimed raised 2-panel configuration French door with grooved and beveled trim detailing and old weathered paint. Instantly add a layer of unrivaled character and charm when inst...

A reclaimed raised 3-panel configuration French door with grooved and beveled trim detailing and old weathered paint. Instantly add unrivaled character and charm when installing in a...

A striking mid-19th century French boiserie panel with original pale olive green paint, delicately worn over time to reveal subtle undertones beneath. The carved frame features gra...

19th century French Napoleon III 3-panel fireplace screen. The screen is made of brass, iron and iron mesh. It is in a good condition and is fit for use in front of the fireplace.

This is an old tsukubai (stone basin) believed to have been made in Japan. In Japanese culture, there is a long-standing tradition of designing gardens that reflect the changing bea...

Wonderful and rare small cast iron fountain head with a great expression, France, circa 1850-1900. Weathered H:20cm W:18,5cm D:8,5cm

French Empire green and gilt montieth jardiniere cachepot. Neoclassical period gilt rimmed Empire montieth/ verriere in mottled green painted tole with scalloped edge and handles. Be...

Large 19th century French Napoleon III Period andirons. The andirons are made of wrought iron. They have spit hooks to grill food. The condition is good.

Very nice cast Bronze Door Knocker .In the shape of a Lions head . 19th century .

Corinthian Capital, French, of finely hand carved wood finished with 24 carats gold leafing. The architectural element which can serve as a side table features a hand carved décor o...

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...

Fire Screen in Patinated Brass Late 19th Century. A very elegant and beautifully patinated fire screen in brass - late 19th century / early 20th century. A simple yet stylish design...

Classic antique serpentine form wire fender, having cast brass paw feet, finials, and trim. This example is in very good, original, clean and ready to use condition, showing only lig...

Rare Antique Balinese Carved Teak Door in Original Frame, circa 1900 A rare antique Balinese carved teak door with its complete original frame, dati...

19th century fireplace screen. The firescreen is in good condition.

Pair of Victorian Pierced and Etched Brass Griffin Motif Gates from the late 19th Century, designed as openwork panels with swirls and griffins cut into the metal. Would be great rep...

Wonderful reclaimed 19th-century 3-panel French door with beautiful decorative scalloped details. Install in a new home to instantly add a layer of unrivaled character that can’t be ...

This Late 19th Century Wrought Iron and Marble Radiator Cover is a beautiful and functional addition to your classic home. The wrought iron frame adds a touch of elegance while the m...

19th century English Victorian period fireplace tool set. The tools are made of polished brass, and the stand has a cast iron base. The tool set consists of tongs, shovel, poker and ...

19th century French fireback with an unknown scene with a woman. The fireback has a brown patina. Upon request it can be made black / pewter colored with stove polish at no extra co...

This is an antique set of library steps. An English, walnut and oak step storage stand, dating to the Regency period, circa 1820. Fascinating library or country house kitchen steps ...

Stunning Gothic architectural door with strong iron hardware in original frame. This striking and all hand carved door was originally probably part of a church or monastery and the ...

Very large and exceedingly rare English Renaissance Revival fireplace mantel, circa 1860s. Made of hand carved walnut featuring a gothic cathedral design. The fireplace portion is ...

19th century French Napoleon III Period fireback witha decorative fruit bowl. The fireback has a natural brown patina. Upon request it can be made black / pewter color with stove po...

Late 18th or early 19th century French neoclassical fireback with an allegory of love. The fireback is made of cast iron. It has a black / pewter patina. The condition is good, no cr...

French Majolica Strawberries Jardiniere signed Luneville, circa 1880.

Beautiful late 18th or early 19th century Dutch Neoclassical fireplace grate. Hand forged of wrought iron. The fireplace grate is in a good condition and is fully functional.

A substantial antique English copper pot, with two narrow handles at the rim, from circa 1850. The exterior has deep patina, shading the dents and dings to a chestnut brown, whereas ...

This classic pair of English rectangular planters are the perfect addition to your garden or sunny interior. Made of reconstituted stone with geometric trellis motif for a touch of s...

Pair of Antique Victorian Leaded Stained Glass windows. Features a gridded pattern with an amethyst stripe and X pattern center in red. The glass is all in a pebbled motif. Dimens...

A stunning 19th-century French Louis XV style fireplace mantel, masterfully carved from richly veined marble. This exceptional piece features a gracefully arched opening framed by bo...

19th century English Victorian fireplace basket or fire basket. The fireplace grate is made of wrought iron. The condition is good.    

Exquisite antique Art Nouveau leaded stained glass window. Features floral swags in blue, amber, purple and green over a clear paneled background. Framed in wood for ease of hangi...

A large and unusually tall 19th Century Regency pierced polished brass serpentine firegrate, with elaborate etched urn finials, all supported on tapered legs. To the centre, a pierce...

A rustic French confit pot from the late nineteenth / early twentieth-century. Originally used for storing preserves. This would make a lovely addition to a collection of antique p...

These large scale antique stone bases were originally used as bases for columns in Spanish Colonial Guatemala. These are the largest we have ever had in stock. In very good condition...

Wonderful cast iron fountain head with a great expression, France, circa 1850-1900. Weathered. H:27cm W:25,5cm D:10cm

All handcrafted and rare strongbox-design, wrought iron firewood bucket. Only if you were a wealthy person in Europe in the late 1800s, would you be able to afford this large, impre...

19th Century French Louis XV Marble Fireplace. A Richly Hand Carved Louis XV Parisien Style Fireplace In White Carrara Marble. The Flowing Frieze With Carved Shell, Shaped Jambs Wit...