Europe - Fireplaces and Mantels

This is an antique Victorian fire surround. An English, fire fender handcrafted in iron dating to the late 19th century, circa 1890. Tradit...

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...

This fireplace mantle is a Classic small French Parisian apartment piece. It had some restoration work. Measures: 111 cm Exterior Width 43.70 Inch 103 cm Exterior Height 40.55 Inch 7...

This original trumeau in pinewood comes out of a Louis XIV style paneled room and was installed above the fireplace surround. The mirror is 20th cent...

Antique marble fireplace mantel to place in front of the chimney. See the last picture for all dimensions.

Very impressive castle mantelpiece made of French limestone from the 19th century in style of Louis XIII. This antique mantel has a beautiful wide front section, making the mantelpie...

Very unique antique fireplace surround in Campan Vert and Rouge Griotte marble from the Louis XIV period, 18th century. This kind of marble was exported a ...

21st Century Nero Potoro Marble Fireplace Mantlepiece. This Luxury Marble Fireplace Mantlepiece Is Hand Carved From Natural Nero Portoro Marble. It Has B...

A Baroque Bolection fireplace mantel in Italian Pavonazzo Marble A Baroque style bolection fireplace surround of bold proportions with very finely carved columns with a rising ogee ...

Rare brutalist ensemble of hard limestone blocks for a bespoke wabi fireplace wall. The blocks can be cut to measure. It is rare to find raw blocks in t...

A stylish English moulded bolection fireplace in a dark brown Marquina marble. A good quality copy of the Queen Anne design from the early 18th century. Could be made to any size and...

Impressive Carved Wood Mantel And Trumeau With Yellow Sienna Marble Accents

Antique Italian Carrara marble mantel in the Venetian Renaissance style. The jambs with rope twist Corinthian columns supporting large acanthus br...

20th century French Louis XIV style fireback with the Arms of France. A coat of arms of the House of Bourbon, an originally French royal house that became a major dynasty in Europe. ...

This monumental fireplace was made in Belgian Petit Granit in the second half of the 19th century inspired by the Flemish Renaissance art answering the revival vogue of this period. ...

A very large (nearly 5.5ft) conical-shaped copper fireplace hood, removed from a 1960s villa in Ibiza. The unpolished copper fireplace hood has t...

One of a kind, bespoke antique Belgian fireplace surround with a history in Grey St-Anne marble. The mantel was installed in the Chateau de Neerijse of the Family de Béthune de Overs...

This petite Art Deco antique fireplace mantel (fireplace) was in installed in a Parisian Apartment. The surround was made out of Comblanchien marble/stone. A stone one find back in a...

Very beautiful fireback from the early 18th century of cast iron. The very special thing of this fireback is the HS sign (sing of Jezus Christ). This is very rare and special!

A small but grand Belgian fireplace in softly mottled Carrara marble. The moulded shelf sits above a panelled frieze which is centred by a very ornate foliate cartouche, and is flank...

This is a very nice Burgundy hard stone, marble fireplace surround; it is in excellent shape. It has exceptional proportions with a deep shelf. The timely shape could even work with ...

20th century French Louis XIV style fireback with an unknown coat of arms. The fireback is made of cast iron and has a brown patina. It can be made black / pewter upon request. I...

Elegant 19th century French, Parisian, appartement fireplace surround in colourful marble. Original antique timeless elegancy in great condition. The eye-catcher of a room. Measurem...

Coat of arms of the house of Bourbon, an originally French royal house that became a major dynasty in Europe. It delivered kings for Spain (Navarra), France, both Sicilies and Parma....

19th century French Napoleon III period fireback with a girl and a snail. The fireback is made of cast iron and has a brown patina. Upon request it can be made black / pewter at no ...

Firewall Flames Dark and Old Gold in forged metal in dark and old gold finish. Also available on request in bronze finish.

An Edwardian brass fire place fender, English, circa 1910.

Beautiful 17th century French Louis XIV period fireback with an unknown coat of arms. The fireback is made of cast iron and has a brown patina. It can be made black / pewter upon re...

This neoclassical style pineapple fireplace tools is made of brass. This is a work in the style of famous French designer Maison Jansen. Circa 1970.

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...

Antique fireplace mantle, hand-carved in gray stone, with the typical shape of the pink Salvator fireplaces, taking up the frame of the famous painter, original fireplace from the 16...

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...

Grand neoclassical black and green marble antique fireplace surround. The quality of the marble on this fireplace is exceptional. The Noir de Mazy black marble has a shine that is not common. The deep shine gives this piece an exceptional appearance. This fantastic fireplace is a special piece in our collection. The Noir de Mazy black marble combined with marble Verde. The details continue from the skirting...

Late 19th-Century Hand-Forged Victorian Gothic Revival Fire Screen – Exquisite Craftsmanship --- Discover the exquisite craftsmanship of our late 19th-century hand-forged and fire...

18th century French Louis XV period fireback. The date of production, 1771, is cast in the fireback. The fireback has a natural brown patina. Upon request it can be made black / pew...

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

This is a very unusual fireplace surround in French hard limestone. This mantle boasts very fine detail and its original patina. It is composed of th...

A decorative cast iron fireplace insert with Delft tiles. The shaped front bars with reeding and foliage embellishments. Ceramic Delft tiles surrounding, featuring children at play. ...

An unusual and charming 19th century Regency style Lumacella di San Vitale marble fireplace surround, a deep square splayed shelf sits above a frieze of carved reeding with a central...

Antique fireplace mantle in white Carrara marble, richly carved both in the pediment and on the sides, built and sculpted by hand in the 19th century for an important building in nor...

This fine antique fireplace surround is from the Dijon region. The bicolor Burgundy marble stone is named Corton, after the French town, Corton...

An English painted pine and composition (Gesso) fire surround in the Adam style. Salvaged from a house in York. Additional Dimensions Opening Height 112 cm Opening Width 121 c...

A medium sized 19th century Regency style hand carved statuary marble fireplace surround, a reeded top shelf sits directly above a ste...

An English stone fireplace in the Gothic manner. The moulded, arched frieze with carved spandrels surmounted by carved grapes, foliage and cen...

Elegant French Vintage Fireplace surround. Small fireplace surround in a timeless beige limestone from the Louis Philippe period, 19th cent...

A Regency Manner Polished Brass Fireplace Frame. A versatile brass frame with bullseye capitols and reeded sections to jambs and frieze. Set within a slate frame. This would suit a f...

19th Century French Napoleon III period fireback with a horse. The fireback is made of cast iron and has a black / pewter patina. The condition is good, no cracks.   ...

Statement stone fireplace surround in great condition for a timeless cottage or castle style home decor. The beige hard limestone blend well in any kind of interior styling. The prop...

A large scale antique pine fireplace mantel finished in primer, formerly used as a kitchen fire surround. Though this reclaimed fireplace dates from the late 19th century, its simple...

A large and elegant -Scottish (Edinburgh’s New Town) 19th Century Georgian carved pine and lime wood fireplace surround. A break front top shelf with a carved repeating rope cornice...

A good quality period Victorian fireplace in Statuary white marble. The jambs with corbels featuring acanthus leaves with decorative panels below. The frieze with centre panel carved...

This 19th century Spanish brazier, or "brasero," is made of brass and wood, and was used to heat areas of a home (or castle) by holding burning coals i...

"Antique Cast Iron Fireback Dated 1793 – 18th Century French Fireback with Two Chickens and Sun Motif" This remarkable antique cast iron fireback, dated 1793, is a rare and charming piece of 18th-century French craftsmanship. Featuring a beautifully detailed design of two chickens flanking a majestic sunburst at its center, this fireback is a true work of art that reflects both rustic charm and classical symbolism. The sun, often seen as a symbol of life, power, and warmth, is complemented by the two chickens, which add a playful yet meaningful touch, representing rural life and abundance. Originally created to protect the fireplace and enhance heat reflection, this fireback also stands as a decorative statement in any home. The historical date of 1793, cast into the fireback, anchors it in a significant era of French history, adding to its authenticity and collectible value. Its aged patina and weathered texture enhance its antique appeal, offering a tangible connection to the past. Crafted from high-quality cast iron, this fireback is both durable and timeless, ideal for use in traditional or country-style interiors. Whether used functionally in your hearth or as a standalone decorative piece, this fireback brings a touch of French heritage and rustic elegance to any room. Key Features: Antique cast iron fireback from France, dated 1793 Depicts two chickens and a central sunburst motif Authentic piece from the 18th century, adding historical value Durable cast iron construction in excellent condition Enhances heat reflection and protects the fireplace Ideal for traditional, rustic, or French country interiors This antique fireback is perfect for collectors of historical fireplace accessories or anyone looking to add a unique and meaningful accent to their home. Its combination of rural charm and symbolic design makes it a striking and functional piece that will enhance any fireplace or living space. Keywords: antique cast iron fireback, 18th-century French fireback, fireback with chickens, sun motif fireback, dated 1793 fireback, French antique decor, rustic fireback, vintage fireplace accessory...

Strong 18th century fireplace mantel in Gris d'Ardenne marble. This monumental antique French fireplace is beautifully decorated with profiled paneling combined with a draped laur...

A large and imposing Victorian arched fireplace carved in white statuary marble. The massive plain moulded shelf is supported on twin scroll...

This beautiful cast iron fireback made around 1700 is adorned with a rare and rich decoration. Its shape is characteristic of the 18th century beginning, the top in an arc of a circl...

Large 18th century French Louis XV period andirons made of wrought iron with a recently forged grate. The condition is good. The total width at the front is 88,5 cm / 34,9 inches. ...

20th Century green and white enamelled cast iron radiator cover with opening access doors to the front and sides. Very good condition and no r...