United Kingdom - Building and Garden Elements

A pair of Louis XV style gilt bronze fire screens, Each of cartouche shape, the frames cast with acanthus scrolls, the tops with pierced carrying handles. The mesh insets are applied...

Our Stock # 24515 This is an antique fireside store. An English, ebonised pine and brass coal or log bin in Aesthetic Period taste, dating to the Victorian period, circa 1880. Appe...

A magnificent and rare antique Statuary and Sienna marble fireplace. The lower half with full rounded Sienna columns on Statuary pilasters and with highly carved capitals, each one d...

A nice 19th century French Melon cloche made from hand blown glass. Original handle is still intact, which are normally missing.

Single round door handle with spiralling relief that is textured. Cast bronze relief in perfect condition. The bronze has a subtitle patina due to the textured surface and its age, ...

A pair of large substantial reclaimed bolection fireplaces from Italy, executed in a form of Carrara marble known as Calacatta Vagli . Pale background colours with gold tones and hue...

A handsome antique Louis XVI style oak fire mantel. At over 130 years old, this antique fireplace has stood the test of time. It displays styling evocative of the Victorian period wi...

An antique Victorian decorative corner urinal with floral printed pattern. This very unusual piece is in excellent condition, finished by a striking blue floral transfer print, per...

Stunning classical Italian bronze wall fountain which is floor standing It has a wonderful Verdi gris patina that can only be achieved through age. This impressive sized fountain has...

Carved Giltwood Wall Bracket Corbel, Vintage 20th Century A finely carved and richly decorated giltwood wall bracket corbel, dating to the 20th century. The bracket is crafted from...

This is an antique demi-lune fire grate. An English, cast iron fireplace basket, dating to the late Victorian period, circa 1900. Delightfully...

19th Century Marble Fireplace Surround. This Hand Carved Original Antique Flat Victorian Classic Marble Fireplace Is Dated Circa 1855. Recently Salvaged From A London Town House. Eng...

This set of tall reclaimed garden gates make a beautiful feature as pedestrian gates, bringing style to a garden or yard with their ornate design as well as security with their tight...

A fine Classical Tazza shaped urn, cast iron, English, 19th century This example is a beautiful large piece Undulating body with egg and dart casting to border This urn is a hea...

A stunning tall garden gate, handcrafted by a talented early 20th century blacksmith and reclaimed from a property in Surrey. Standing at 1.8m tall, t...

A pair of unusual green serpentine marble pedestals, carved with entwined dolphins. Italian, circa 1880. This unusual pair of serpentine marble...

An early 20th century antique English stained glass window detailed with the Devonport Coat of Arms. This stained glass window is...

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...

Mid century scrollwork plant stand Dating Circa 1930-1950'S Reeded column design straps with detailed scroll work detailing A true statement piece for an entrance hall or garden ...

A Tudor style antique English stained glass roundel depicting the Morley family crest, dating to circa 1820. This stunning roundel is exquisitely detailed, the central blue shield be...

A spectacular and complete 18th Century oak staircase. Deep rich colour and beautifully patinated, the staircase was reclaimed from an impressive property in Lake District national ...

A primitive hollowed wooden circular planter or stick stand. Belgium, c1950s. Good vintage condition. The base has been replaced at some point but too a good standard. Internal R...

Late 19th Century Bronze Urn. Impressive 19th Century Bronze Neoclassical Urn Standing in a Marble plinth with a socle comprising of four finely detailed lion face masks. Profusely a...

A 19th century antique German armorial oval stained glass window hanging. This small oval stained glass panel depicts a family crest, the coat of arms consisting of a black shield m...

A simple Scottish 19th Century Victorian splayed cast iron fireplace insert by the renowned Carron of Falkirk foundry. An outer frame with a raised border splayed sides envelop to t...

Bring the understated glamour of the Art Deco era to a property with this stylish set of 1920s internal double doors. Each door features full length copperlight glazing within a stripped and sanded pine wood frame with a natural finish. They make a beautiful pair of dividing doors, letting light flow through the glass from room to room to instil an interior with a spacious feel. These Art Deco double...

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...

This is an antique triangular fireside bin. An English, walnut and brass coopered log store, dating to the early Victorian period, circa 1850. Rare and unusual form - a treat of Vic...

Pretty antique Victorian brass jardiniere having a quality antique Victorian brass jardiniere with fruit decoration to the body raised on th...

An Arts and Crafts copper conical coal bucket and lid with a hand hammered sun rise to the front. With cold copper riveting to the four corners and organic brass handles to the sides...

A batch of 86 reclaimed encaustic cement floor tiles. These tiles will cover 3.44 m2 or 37 sq. ft. They are suitable for use on floors or walls.Weathered su...

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

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...

It doesn’t take much imagination to think of this wrought iron side gate at the entrance to a scenic country garden thanks to its ornate design and ornate scrolling details. Crafted ...

A pair of Arts & Crafts brass door knobs with shield shaped back plates. Supplied with square bar to fit locks. Projection from door: 2 inches - 5 cm.   

Dr C Dresser attributed Benham and Froud. A pair of brass fire dogs.

A superb, tall and elegant 19th century rare Victorian corbeled and panelled period fireplace in rich variated- fossilised soft Grey Ashburton marble...

A Large Victorian Brass and Leather Club Fender This is an elegant piece of country House Furniture the seats have been reupholstered with soft relish brown leather, this is an old ...

An Aesthetic Movement decorative cast iron fire insert and grate in the style of Thomas Jeckyll, with sunflower and stylised foliage decoration to the cast iron hood with two hand pa...

An Arts & Crafts cast iron gate with it's original side post and stylised floral details throughout. Once restored the fine definition of detail will be there to see more. Measurements: H - 52 inches W Post cap...

A fine antique Victorian cast iron and brass fire basket, a tall arch fireback encompassing a rainbow panel, supported by scalloped side panels connect...

This is a set of 6 antique cloche covers. An English, copper and quarter-inch glazed panels, dating to the Victorian period, circa 1900. Superb set o...

You can imagine this unglazed French antique interior door circa 1850 at the entrance to a beautiful French style country sunroom or in a kitch...

An elegant pair of English arts and crafts stained glass window panels dating to circa 1890. To create scene of winged putto bearing platters of fruit with a green tinted centre bo...

A Breccia Viola marble fireplace of stylish architectural design. The aperture surrounded by a wide frame stepped moulding. The plain and squat ...

A turn of the 20th century circa 1900 English Brass, steel and cast iron fire grate/basket. The tapering front torchiere supports with brass flame finials, flanking Archers bow shape...

A pair of fine interior or exterior use Regency design teak and age painted brass bound and bronze-mounted oval planters with zinc liners.   We are currently working to a 30-36 week ...

A charming late 19th early 20th century iron garden table from Arras in northern France. In nice original condition with old weathered paint and Horse hoof feet. Makers badge on rim...

Chinese enamel and French gilt bronze Chinoiserie jardinière The enamel Chinese and the gilt bronze French, 19th century Measures: Height 40cm, width 53cm, depth 30cm. This Chin...

This horizontal sundial & stone pillar, an extraordinary artifact of the Crimean War, originated from the 10-Gun Battery at Kinburn Fortress. As the inscription reveals, the sundial ...

A 19th Century Market Garden Hand Cart or “Dog Cart” The cart or Barrow is made in pine it is in good sound condition, it has been stored indoors and so not had to suffer harsh weat...

A very beautiful 19th century French classical Urn, with highly decorative handles and detailed shape to the cast iron body. Dating to circa 1870 fi...

Extra Large Arts and Crafts Copper Helmet Coal Scuttle This heavy quality hand hammered piece is a wonderful it shape has riveted handles at the back and on the sides for the swing...

An Arts and Crafts cast iron fireplace in the style of C F A Voysey, still retaining its original matching cast iron arched over mantle mirror with a central single stylised flower h...

A medieval carved stone gargoyle from the private collection of a country house in Oxfordshire, originally purchased from Crowther of Syon Lodge in 1985. Dating from the 13th-14th c...

A 19th Century Georgian manner polished steel fireplace insert. A generous polished outer plate with an applied raised lambs tongue moulding, encompassing a central tablet with a pro...

A set of external double doors with a natural wood finish.

A large Georgian style antique 19th century fireplace mantel of simple yet elegant design in Antico Verde and Pencil Vein Carrara marble. The jambs in Carrara with Pilaster Antico ve...

A Pair of Neoclassical style, simulated marble, decorative plaster table columns. Each reeded column has a beautiful marble painted patina imitating signs of wear and age. A highly...

An elegant antique English art nouveau style pedestrian wrought iron gate, dating to circa 1890. Dating from the late 19th century, this tall antique garden gate is in good conditio...