Early 19th Century Building and Garden Elements

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

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...

English Regency brass fire fender with artistic wire work gallery, original flanking tool holders, lower fluted banding with decorative shell & foliage motif, and resting on the orig...

A small organic shaped carved stone planter with rustic textures and natural patina that developed over long period. Photographed as a pair but sold individually, the one on the Rig...

An antique Swedish Gustavian pair of early 19th Century obelisks made of Pinewood, in good condition. Each is covered with distressed hand crafted hammered decorative round ornaments...

Large Italian 19th century black marble bulbous urn with ormolu gilded hardware Large Italian hand carved marble urn. The main body is carve...

A pair of 19th century Italian Carrara marble garden tables with circular tops on baluster column pediments with square plinths. Elegant gadrooning on the central column. The lower c...

A pair of early 19th century Italian doors within their original carved wood casing. This fabulous piece consists of two antique Italian doors wi...

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...

18th-19th century French Neoclassical fireback with the pillars of freedom and a decoration depicting an allegory of love. The fireback is made of cast iron and has a black / pewte...

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 French Provincial Anduze vase from the early 19th century with traces of green and brown glaze and nice rustic character. Steeped in rich history and displaying a rustic allure, th...

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...

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...

Each of this pair of large early 19th century terracotta campagna urns, in the neoclassical style, sits atop a molded socle plinth base, its baluster body ornamented with gadrooning,...

A large stylised and very well configured fireplace in Belgian black marble and Italian Verona marble. The jambs with tapering fluted panels in Verona, surmounted by corner blocks wi...

***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

18th-19th century French neoclassical fireback with an allegory of love. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter.

A very good quality English Regency period fireplace executed in Italian Statuary white marble. The jambs with fluted columns stood on square foot blocks with carved Ionic capitals, ...

A set of four English lead Parish Boundary plaques marked and dated: P S S and 1804. P S S with a rams head between the S's and 1820. M S P with crossed keys between the S and P and ...

An original large-scale Georgian period wrought and cast iron fire grate circa 1800 with a detachable decorative summer grate to the front. Historically, summer fireplace grates li...

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 late Georgian steel fireplace fender, with ornate bronze scrollwork decoration, removeable rests for fire irons, English, circa 1830.

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...

Good pair of American early 19th brass ball top andirons having ring turned collar over balustrade turned shafts, standing on hoof-footed cabriole legs with spurred knees, the log st...

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...

This old mantel was intricately hand carved by Italian master carvers and installed on site anywhere between circa(1782-1805). It has been well preserved throughout the years. It was...

Lovely quality antique Victorian copper jardiniere, having a quality antique Victorian copper jardiniere, with a shaped body with a rope twist neck, raised on a circular shaped base....

A large and elegant early 19th Century Scottish statuary marble Corbeled fireplace surround. A generous square edged top shelf, resting above a unadorned shaped frieze, flanked by ta...

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...

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...

Napoleon III mantel in Paonazzo marble, Cartouche in Statuary White Marble circa 1880 Napoleon III mantel in Paonazzo marble, statuary white marble cartouche, putty playing with a do...

Elegant & Grand Pair of Antique Wrought Iron Driveway Entrance Gates for portal , Circa 1814-1824 King Louis XVIII exceptional pair of hand-hammered and hand-wrought iron gates with scrolling decoration to the top and throughout . With large elongated Medallions three-dimensional form and draped. Outstanding ironsmith quality Done by the masters of the craft . There is some surface rust as seen in the pictures and the video . you can feel the soul of the blacksmith's hammer across this Huge Pair of Gates. Thick hinges to handle the extreme weight of this work of Art. the bolt arms Holding the sides still present to have it attached to your portals. Wide and tall gates have a very attractive and simple design. It comes without the overthrow , if you would like to have the spiked overthrow, it need to be retrofitted. Large Antique Gates for your Carved Stone Doorway Entryway Door surround portal . it will add the Charm needed for the stone portal frame...

Large neoclassical Italian giltwood sunburst on original large base. Monstrance. Sun rays and palmettes. Parcel gilt column with rayed being eye. Illuminati symbolism.

Late 18th or early 19th century French neoclassical period andirons. The andirons are hand forged and made of wrought iron. The condition of the andirons is good.  

American brass and artistic wire work fire place screen with flanking eyelet holes for originally securing to fire place surround, Early 19th century.

Late 18th or early 19th century German neoclassical period fireback. The fireback is made of cast iron and has a black / pewter patina. It is in a good condition and does not have...

An antique early 19th century marble campagna pedestal urn in the Grand Tour manner. This urns gadrooned body is topped with a striking flared rim supported on a beautifully smooth ...

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 tall Georgian period carved mahogany torchere fern stand. Solid mahogany of quality craftsmanship. Stands sturdy and displays beautifully. England, late 19th / early 19th century...

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...

An Irish antique fireplace from the Regency period in Italian Carrara and Siena marbles. The jambs with demi lune reeded panels on book matched...

This is a large antique log basket. An English, brass decorative fireside store with Continental taste, dating to the Regency period, circa 1820. Superb country house proportion wi...

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

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. ...

American wrought iron free standing fire screen with flanking ball finials, decorative scrolled centered panel with interior lined mesh, tapered supporting columns, and terminating o...

American serpentine fire place screen with a brass rail top, three centered brass urn finials, and pleasing artistic scrolled wire work. Early 19th century, Philadelphia.

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...

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...

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...

This listing features a pair of Art Nouveau style marble sculptures of female figures holding torches. Art Nouveau is a style that is characterized by its organic forms, flowing line...

A large English Regency period fireplace surround executed in Italian Statuary white marble. An exceptional and Finely carved Greek Revival Regency fireplace, the Jambs with carved torchieres, oak leaf...

Large, impressive and all handcrafted, 19th century wooden column. Thanks to its classical and perfectly geometrical design, this column pedestal can be used and enjoyed in all kind...

A rare and important period French Empire dore bronze mounted iron fire fender, with rich provenance, adding character and historic depth, it's from the home of iconic American busin...

Imperial Crest Antique Shield Coat of Arm Wall Plaque Armorial LA Antique Dealer , Beautiful Early 19th century Heavy Bronze Imperial Armorial Armoirie Coat...

An antique pair of Austrian Biedermeier columns made of hand crafted polished Cherrywood, in good condition. The tall to décor pieces are enhanced by gilded circles around the top. T...

This large size 19th century hand-hammered copper cauldron cook pot with rich chocolate brown patina is paired with a heavy wrought iron tripod. Originally designed to sit directly above the hot coals of a cook fire or fireplace, rich country stews, soups or rice dishes would come to life in this humble cookware. Well-crafted to withstand the punishments of daily use, these rugged items hold great rustic charm, and can easily find functional and decorative uses in a wide variety of interior decor styles. A catchall container for firewood or magazines perhaps, or an interior or exterior planter...

This is a quite unique original antique fireplace surround in the famous Bleu Turquin marble. The columns are giving that extra debt to this mantle...

Antique George III quality set of three brass fire irons consisting of a quality brass shovel, tongs and a poker Dimensions: Height 75 cm Width 14 cm...

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...