Early 19th Century Building and Garden Elements

18th - 19th century French neoclassical fireback with two pillars of freedom. The pillars symbolize the value liberty, one of the three values of the French revolution. The firebac...

Nice French Campagnard style fireplace mantel in lovely limestone. This gem comes from central France, burgundy area. Its perfect size make it possible to install this mantel in al...

French bronze serpentine flanking winged cherub and shell foliage pierced gallery fire place fender. Early 19th century.

An impressive reclaimed Statuary marble fireplace surround with Verde marble inlay. We currently have a matching pair of these surrounds (ARMSTRONG & DARLING); both were reclaimed fr...

Hand-painted in France, this handsome grisaille overdoor painting is from the neoclassical period, circa 1815. Grisaille is a monochromatic painting ...

19th Century antique copper and brass planter having lion mask loop handles to either side of the oval copper body, raised on four brass paw feet, having original removable metal lin...

18th - 19th century French neoclassical period fireback. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter at no extra cos...

These late 19th century reclaimed Italian floor tiles in Breccia marble were salvaged from Wingfield castle in England. Dating from circa 1880, th...

Circular ribbed tapered body with brass liner and brass bail handle.

Rustic 18th-19th century French fireplace tool set. The tool set consists of fireplace tongs, shovel and a fire poker. The tools are made of wrought iron. The set is in a good condit...

A rare and most charming antique Anglo Indian British Colonial brass bound hand turned hollowed log bucket. Early 19th century, India, handmade during the British rule on the Indian...

18th-19th century French neoclassical period fireback with the goddess Diana. Goddess of hunting, also protector of animals of the forest, especially the young animals. She experienc...

A wonderful and charming early 19th century Garden Table from the Provence region of France. Soundly crafted from painted iron with a plateau that tilts and wonderfully sculpted leg...

American fire place mantel made of poplar with Greek key motif and carved corner sunburst supported by turned column legs. All original . Early 19th ...

American hanging Apothecary show globe with a mounted cast iron painted and gilded eagle. Globe was filled with a colorful green or red liquid to...

A Statuary white and Portoro marble fireplace from the early 19th century English Regency period. The jambs with inlaid panels of Italian black and gold Portoro marble, stood on sepa...

Antique Embossed Brass Planter having all over grape vine decoration with original lion mask carrying handles to either side raised on ball and claw f...

Large 18th-19th century French fireplace tool set. The tool set consists of fireplace tongs, shovel and a fire fork. The tools are made of wrought iron. The set is in a good conditio...

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 huge early 19th C. Japanese Kura door in cedar. Beautifully patinated bleached-out wood with hand forged wrought iron plaque/lock. Can either be used as ...

American brass and flanking decorative foliage finial oval rope fire place fender with a chased molded edge base, early 19th century.

Fine 19th Century Cast Iron Fireback. Of Panel form with fine detail of Venus being attended by two putti with tridents. Quite a well executed piece. Removed from a New Hampshire ...

Beginning 19th century stone trough French volvic stone An beginning 19thcentury stone trough from central French, which is worked out in one piece out of an volvic stone. You can us...

19th century French Fireplace screen, Napeleon III Period. Fire screen in cast iron, brass and mesh screen. Foldable fireplace screen, four rectangular panels. The total width of the...

A 19th century neoclassical Regency Statuary and Imperial Egyptian Porphyry antique marble fireplace surround, in the Egyptian Revival style. The neoclassical forms of this fireplace are the epitome of fashionable Regency taste. It features a simply moulded shelf resting above a panelled Egyptian Porphyry frieze centred by a crisply carved and bold statuary marble mask depicting Aurora, the Roman Goddess of dawn. Flanked by circular Imperial Egyptian Porphyry capitols to the end blocks, thus supporting Imperial Egyptian Porphyry tapered panelled jambs raised on plain foot blocks. The external return sections have a recessed panel with cock-beading. Shown with its original statuary marble kerb fender...

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

An antique marbled plaster statue of Hebe, the goddess of youth, after Antonio Canova. Made in plaster, the exterior of this life size sculptures is made to simulate marble, making t...

Stick Barometer signed T. Taylor London featuring mahogany case with bone plinth, inlay and knob. Broken arch pediment above a flush-glass door, enclosing register plate and thermometer. Fully restored and calibrated by Julian Gibbard, Harpers Ferry...

Beautiful 18th/19th century French Neoclassical fireback with flower decorations and two pillars. The pillars refer to the club of Hercules and Stand for strength and the unknown. To...

Stunning firescreen with a famous earth angle, two famous saint paintings and more. With meaningful 'religious art' from centuries-past being one of our specialities we were amazed, not only to find this rare and marvelous fire screen, but also because of its excellent condition. But then again, we think we see that more often, because true beauty, quality and meaningful antiques radiate something that was already there when it was created. This 'something' commands respect and this is why most people take very good care of very special pieces. Since much of what we know now about Christianity and about monastic life in its various 'forms' was given shape since the life of Christ, but possibly mostly so in Gothic / Medieval times, much of this is expressed in European Gothic Art of the past circa 8 centuries. This rare and beautiful fire screen from the early 1800s, which can also be used as a small room divider or a unique work of (decorative) art, is one of those unique Gothic antiques. The hand-carved knight sculptures are 'fun' and meaningful at the same time, because one of them looks a little desperate and the other looks more at piece and in prayer. The hand-carved winged angel in the middle/ on top seems to be overlooking this 'Gesamtkunstwerk'. What makes this antique really stand out and what also makes it complete are the three hand-painted panels inside this screen. Each of the figures portrayed here have dedicated their lifes to doing good, giving love and hope and thus healing people. In the centre is a glorious painting (in medieval style) of Earth Angel St. Raphael and the boy Tobias. The lady Saint on the right, we feel, is Elizabeth of Hungary (1207-1231) and the Saint on the left, we feel, is either Francis de Sales...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Pair Antique Federal Brass & Wrought Iron Lemon Top Andirons C1810 Measures- 24"H x 10.5"W x 24.75"D

Late 18th / early 19th century French Neoclassical period fire grate. Made of beautifully forged wrought iron period andirons and a recently forged grate. The condition is good. The...

Stunning stone fireplace surround of 19th-century French minimalistic Louis philip design. Sculpted in bicolor hard stone, it showcases natural variations in earthy tones that enhanc...

Late 18th or early 19th century Dutch neoclassical fireplace tool set. It is made of wrought iron. The tool set is in a good condition and is fully functional.  

RARE ITALIAN VERTICAL WALL FOUNTAIN FROM THE EARLY 1900'S IN LIMESTONE Beautiful "vertical" wall fountain of 2 m height, made of limestone in the early 1900's. Produced between the...

True classic fireplace surround reflecting the timeless elegance of French design. Sculpted in the early minimalistic 19th-century period, it hails from the picturesque region around...

Impressive Georgian polished steel and fire tool set with and a finely pierced & cut shovel.

Originally found in Montpellier, France, this 1820's cellar door is a magnificent statement piece. The original wood and hardware are unchanged from its 205 year old origin. It would...

Pair of extraordinary early 19th century carved marble columns, beautifully proportioned and intricately carved. Each column is in four pieces - base, column, disc and capital.

A magnificent over 200 year old French Empire Period (1804-1815) parcel gilt walnut armorial hall pedestal / plant stand. Born in France in the early 19th century, most likely near the Italian border or Napoleonic territory in present day Northern Italy, most impressive palatial scale, exceptionally executed one-of-a-kind sculptural work, having carved fiolate apron with H monogram, decorative scroll work, stylized grotesque satyr mask with acanthus leaf accent, over high relief crest mural crown depicting four towers representing fortified city walls, shield escutcheon coat of arms with three fleur-de-lis above wavy lines depicting sea water in front of castle tower, supported by figural winged female caryatid, flanked by volute supports, joined by turned stretcher. circa 1810 Provenance / Acquisition: An important San Antonio estate Acquired from highly reputable auction house Austin Auction Gallery, est.1983, Austin, Texas. Texas Mansion Carved French and Italian Antiques catalog...

This set of antique hand-crafted library stairs is unsigned, but presumed to have originated from England and date to approximately 1820 and done in a period Early Victorian style. The four step wooden...

This is a red toned Burgundy hard limestone fireplace surround. It is simple, plain, yet elegant. It is in 3 solid blocks. Works perfect with modern and contemporary art work. Measu...

A black basalt bulb pot molded as a hedgehog, made by Wedgwood in the middle of the 19th century. Finely molded as a lively little hedgehog, this unique object would have been use...

Rustic 18th-19th century French fireplace tool set. The tool set consists of fireplace tongs, shovel and a fire poker. The tools are made of wrought iron. The set is in a good condit...

Late 18th / early 19th century French Neoclassical period fire grate. Made of beautifully forged wrought iron. The condition is good. The width at the front is 66 cm (26.0 inches) ...

An early 19th century oak wooden bellows richly carved with a Mythological scene A mythological scene of Salacia (Neptune's wife) depicted centrally ...

Antique Victorian quality carved oak coal box, having a quality brass carrying handle to the top, original brass shovel to the back, a lift up carved front opening to reveal a coal s...

A rare 19th century Georgian Triptych paneled cast iron fireplace set. A central paneled grate opening with a central circular framed cherub h...

These late 19th century reclaimed Italian floor tiles in Carrara marble were salvaged from Wingfield castle in England. Dating from circa 1880, th...

18th - 19th century French neoclassical period stand for a roasting jack. The stand is hand forged and made of wrought iron. The condition is good.

19th Century Georgian Cast Iron Hob Grate Fireplace. Antique Original Hourglass Georgian Hob Grate, In The Manner Of Robert Adam. With Simple Reed...

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...

18th - 19th century English Georgian fireplace tool set. The tool set consists of tongs, shovel, poker and stand. The stand is made of cast iron and the tools are made of polished st...

Pair of cast brass and forged iron steeple top andirons. Note the use of a forged iron leg with penny feet, which is an hallmark of the conservative use of brass during the period of...

Late 18th or early 19th century Dutch fireplace tool set. It is made of wrought iron and polished brass. The tool set is in a good condition and is fully functional.

Set of three English Georgian fireplace tools and a stand made of wrought iron. Late 18th or early 19th century. The fire tool set is in a good condition and is fully functional. ...

These are a very attractive and original pair of cast iron, wall hanging, English Planters from the Regency period of the early 19th century, circa 1820. Each planter is semi-circul...

A very rare and exotic large carved stone 19th century French chimneypiece in the Renaissance manner. The Jambs of male and female beasts in armour, supporting recumbent dragons. The corner blocks having carved Roman masks...