United Kingdom - Fireplaces and Mantels

A Superb Late 18th to Early 19th Century Statuary Marble Chimneypiece Carved in High Relief A neoclassical fireplace produced in Italy most probably for the English Market, in the m...

A.W.N Pugin style of a Gothic Revival oak coal purdonium with seed carving to the edge of the top and linen fold carvings to the front and to the sides with blind fret details to the...

A large early 19th century surround in "Old English" Carrara marble. Having a generous and moulded mantel, with a plain frieze. The brackets with carved guilloche in a fielded panel,...

A simple late 19th century Scottish polished fire grate in the manner of Robert Adam. A square back plate with scalloped sides, below, a polished fire apron mounted with splayed finials, a four barred curved fire front...

A antique French Louis XVI style Carrara marble fireplace, nineteenth century, with rope-twist frieze and scrolled jambs (sold without hearth). Dimensions: 106cm (41¾") High, 125cm ...

A large and notable antique Georgian cast iron Hob Grate, showing good quality casting, English, circa 1820.

A large, Probably Scottish, 19th century mid Victorian arched fireplace insert with applied brass embellishments. A wide and generous polished outer plate...

An attractive mid-19th century English cast iron fireplace. The frieze with acanthus leaf detailing, the jambs with scrolled brackets and r...

A small 18th century Louis XV rouge marble fireplace. The richly moulded and panelled frieze is centred by a simple Rococo cartouche, all supported on panelled jambs. French, late 1...

A large William IV period fireplace in Belgian black marble. The plain pilaster jambs with a carved split corbel bracket, simple frieze and plain deep and wide shelf. Executed in gen...

An unusual English Mid 19th century fire grate in the earlier Georgian manner. The tall shaped original fireback decorated with a classical female figure medallion with beaded edge....

A large decorative cast iron fireback featuring George and the Dragon. English, 20th century. Height: 788 mm 31" Width: 838 mm 33"

21st Century Black Granite Fireplace Mantlepiece The Cool Beauty Of This Hand Carved Stone Fireplace, A Versatile Choice For Period Or Modern Settings. Georgian-influenced, It Has ...

A large antique Georgian style painted pine fire surround by Well Fire Co. Left in its original distressed paint finish, this fireplace could be stripped and refinished as desired. ...

A freestanding antique wrought iron fire grate sat on fire dogs dating to the early 19th century. Influenced by traditional Regency and Georgian styles, this fire grate features a w...

An elegant French Louis XVI style Saint Anne des Pyrenees marble fireplace, with carved capitals in Statuary marble. The jambs with half round columns surmounted by carved acanthus l...

A good quality French Louis XVI style fireplace in Breche Violette marble. The scrolled, stop-fluted jambs adorned with acanthus leaf Ormolu, surmounte...

A magnificent late Georgian wrought and cast-iron register grate, the wrought railed serpentine basket front with polished steel hob fronts set over fluted openwork fret, with bead m...

The Nero Marble Carved Fireplace Mantel is a stunning and elegant piece, meticulously handcrafted from luxurious black Nero marble. Each mantel features in...

A George III Irish, fireplace surround, in old English marble with a wide breakfront shelf, inlays of convent sienna and breche Violette marbles to the Jambs. The centre tablet with ...

An unusual English 19th century large fire grate. The pierced guilloche fret with cut steel buttons, surmounted by shaped front bars. The curved wrou...

Antique French statuary Carrara marble mantelpiece of large scale and great quality. This magnificent Napoleon III style mantelpiece is beautifully carved in the purest of white stat...

A very fine quality French Louis XV style marble fireplace in rich brown Emperador marble. The panelled frieze with carved shell to cen...

A reclaimed Georgian style pine fire mantel carved with neoclassical elements. Though dating from the early 20th century, this antique fireplace is evocative of earlier Georgian styl...

An Arts and Crafts oak fire surround by Shapland and Petter with five heart carvings to the top flanked by tapering columns with a central circular detail. The overmantel sits on th...

A handsome carved antique English mahogany fire surround, dating from the late Victorian era. Constructed from mahogany with a veneered finish, this good quality fireplace features ...

An elegant early 20th century Louis XV style English oak fire surround with a distinctive sandblasted finish, applied with a light grey paint wash. Carved with a defined scallop she...

A large and attractive late 19th century Pine & Gesso fireplace surround complete with its original over mantel mirror. The triple bevelled mirror sits within separate frames featuri...

An elegant and good quality English 19th century regency style fire grate in polished cast iron. The lion heads finials with brass rings in the mouths surmount a curved reeded front ...

A small 19th century Georgian Scottish Carron of Falkirk cast iron fireplace insert. An outer rim plate hosting arched reeded moulding with corner blocks of flowers, resting on moulded foot blocks, the tapered side panels of further reeding supporting the three polished front bars with spaced balls...

An antique Arts & Crafts style dark oak fireplace dating to the late 19th century. This handsome fireplace displays striking handcarved panels showcasing stylised designs of flowers...

An incredibly decorative French coal grate, with scrolled foliate , entwined serpents and paw feet. Late 19th century French. Ideal for a small fireplace, bedroom or bathroom etc.

Handcrafted in the late 18th century, this Georgian bullseye fireplace is more than 240 years old and showcases details of the period with a time-worn look throughout. The design is understated yet speaks volumes in an interior, the pine detailed with round embellishments referred to as ‘bullseye’ on each end block and beautifully moulded along the frieze and jambs with repeating curves. The simple lines of this antique pine fireplace...

A pair of wrought iron cresset fire dogs, English, circa 1800. Cresset tops used for the warming of flasks of wine, and the fronts each have three rests for fire tools or roasting...

A finely engraved early 20th century polished wrought fire screen by C Downer, Campden, Glos. The fire screen with densely latticed mesh riveted to inner frame, extensive intricate ...

This early 20th century antique neoclassical style bronze fire insert is highly decorative, the three panels detailed with high quality, good definition details of figures, flowers, ...

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...

Large Fleur de Pêche marble and ormolu antique fireplace French, 19th Century Height 121cm, width 188cm, depth 63cm This stunning fireplace combines unusual Fleur de Pêche marble with sculptural ormolu mounts. The fireplace consists of a panelled frieze, below which is the wide serpentine opening. The twin jambs are canted in form, and are supported by footblocks. The use of the historic Fleur de Pêche marble is particularly pleasing: featuring deep veining in a palette of cream, purple, and brown, the marble was highly popular for opulent 19th century design, adorning elite interiors such as the main hall of the Napoleon III apartments in the Louvre. The fireplace is adorned with several ormolu mounts. A large Rococo scallop shell form decorates the centre of the marble frieze, trailed by acanthus leaves. The upper sections of the jambs are applied with female terms, whose bodies dissolve into further acanthus-style forms. The bottom sections also feature gilt-bronze decoration, with further scallop shell designs. The fireplace also features a cast-iron inset, decorated with geometric designs. The fireplace clearly takes inspiration from the Rococo-style fireplace in the Council Cabinet in the King’s Apartments at Versaille, which was designed in the late 18th century by Jacques Verberckt and Jacques Caffiéri. Whilst the deep red marble of the Versailles fireplace...

An early Victorian 19th century Scottish Carron of Falkirk 1840 cast iron fireplace insert. A generous outer plate with protruding moulding, splayed ingrounds to a decorative frame w...

A versatile Scottish Georgian Manner Cast Iron Hob Grate fireplace insert by the renowned foundry Carron of Falkirk. A generous outer pla...

20th Century Victorian Style Polished Cast Iron Combination Fireplace. This Magnificent Combination Fireplace, The Britannia Exemplifies Quality Cast Iron. Detailed Highlight Polis...

An antique English limestone fireplace from the 19th century in the Gothic manner. The columns supporting large carved brackets, in turn supportin...

This marble carved Gothic fireplace mantel showcases exceptional craftsmanship and timeless Gothic design. Made to order, it features intricate carvings ...

A substantially constructed and beautifully decorated antique English mahogany fireplace of beautiful colour and quality, dating from the mid 19th century. The simple lines and large-scale proportions of this antique mahogany fire surround...

A highly important patinated bronze and Sienna marble fireplace of palatial proportions with finely cast bronze panels and classical figures depicting 'Printemps' and 'Automne'. French, circa 1850. This magnificent Fireplace...

A simply elegant Georgian Regency style stripped pine fire mantel dating back to the late 19th century. Crafted with slender dog leg jambs, a central tablet to the frieze and dentals...

A large and imposing English William IV fireplace in pencil vein Carrara marble, with paneled pilaster jambs with twin corbel brackets supporting a long wide and generous mantel. Som...

A unique and elegant large early cast iron and brass Scottish Arts & Crafts fire grate basket in the Lorimer manner. An arched shape fire back inset with a stylized sunflower, the three bar fire front showing a central rope effect design to the bar, topped with acorn shaped finials- flanked by large steeple standards supported on wide scrolled feet, capped with large flower finials. North Berwick, East Lothian, Edinburgh 1900. Sir Robert Lorimer...

This impressive large-scale antique Cotswold limestone fire mantel is an original from the Georgian period, circa 1780. Detailed with bullseye roundels to the end blocks and an oval ...

A large and imposing carved pine Georgian style fire mantel, circa 1790 with later alterations. Designed in the architectural style, this antique fireplace features large scrolling ...

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...

A French Louis XV antique stone fireplace with panelled console jambs supporting the carved scrolled entablature with central shell over scroll...

An Edwardian golden oak fire surround, reclaimed from a property in Yorkshire. Opening Height 106.5 cm Opening Width 116.5 cm Width between outside of legs...

A simple and elegant antique fossilised limestone fireplace in the bolection style, circa 1900. With its clean lines and neutral stone colour, this reclaimed stone fire surround is a...

A good quality antique French walnut and oak fire surround with arched opening and superbly carved frieze panel. With a rich wood colour, wide jambs carved with columns and beautiful...

A large and stylish antique black marble fireplace surround This unusual but well-proportioned, drawn and stylish black marble...

A 19th century French Louis XV style chimneypiece carved from Breche d’Alep marble. The frieze with central shell detail and foliage, panelled curved jambs with plinths and carved sc...

An attractive English bolection fireplace in a white marble. An unusually deep, substantial moulding with good quality white marble. A copy of the Queen Anne design. Also available i...

An antique French fireplace in quality breche marble with ormolu mounts and original cast iron chamber. In typical Empire Style, and well-proportioned having fine tapering columns supported on square foot blocks and ormolu mounts, again caped with ormolu egg...

An antique cast iron fireplace insert. A distinctive Victorian fireplace insert with beautifully detailed allegorical figures above the open...