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A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

Teal and white abstract contemporary concentric circle shaped painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement...

Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22 Circle of Cornelius Johnson (1593-1661) This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections. Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined. By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly. Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history. The couple had at least five children, and they became highly significant historical figures: The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland. Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty. The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’ A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994. The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park. Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished. Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity. The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings. Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity. The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...

Outdoor light for the garden or entrance area. Customization possible and designed in 2010. Also available to order in stainless steel. This luminaire captivates by its unique shado...

Back Door, 2020

The Seer

This piece titled "green occupied 7" is an original artwork by Miriam Singer and is made of pencil, marker, and acrylic on paper. The artist spends her free time biking around the ci...

Alley Shed, 2020

Pink and blue abstract contemporary concentric circle shaped painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement:...

Fireplace flame with angular base deep. Customization possible and designed in 2010. Also available to order in stainless steel. The included burner a...

These two highly decorative triptychs feature 94 samples of antique marble, presumably collected by the same collector in the early 20th century from archaeological sites in Rome and...

**NEW YEAR FINAL 90 DAYS SUPER SALE UNTIL MARCH 31ST** **STORE CLOSURE - UP TO 80% OFF - TAKE ADVANTAGE OF IT** **EVERYTHING MUST GO UNTIL APRIL1ST!** ...

"WTF" is an original wall-hanging sculpture by Charles Clary as part of the artist's popular "Text-i-monial" series. To create the artwork, Clary hand cuts a series of individual she...

encaustic on panel b. 1954, Reno Nevada Michael David is best known for his use of encaustic on large abstract paintings. A practitioner of Abstract Expressionism, David layers bees...

a wonderful antique pokerwork/pyrography panel by I W Wells, an American artist who flourished between 1845 - 1880. He was active in Pennsylvania/Philadelphia, yet most of his work is conserved in the Pinto Collection, which is part of the Birmingham Museums Trust in the UK. A portrait of Tennyson by Wells is in the Virginia State...

**STORE CLOSURE - UP TO 80% OFF - TAKE ADVANTAGE OF IT** ***EVERYTHING MUST GO BY DECEMBER 31ST!*** >>The artist is moving to a new full time venture in 2026<< _________...

A fine impressionist winter landscape with houses in Jamaica, Vermont by well known American artist Aldro Thompson Hibbard (1886-1972). Hibbard was born in Falmouth, MA, studied at ...

A large beautiful still life with flowers in a blue vase by American artist Owen Cullen Yates (1866-1945). Yates was born in Bryan, Ohio and studied in New York City with William Mer...

Shipping costs on request. This flame flower is the eye-catcher in your garden. Due to the great air supply you can very quickly a beautiful fire. The base also serves as an ash tray, has an inserted bottom, but can also be used separately as can also be used separately as a flowerpot. Of course, you can also plant the flame flower. We manufacture the in our own locksmith's shop. This means that we can also produce special designs, e.g. name plate with house number...

Will Beger and his contemporary-minimalist paintings, take on an entirely unique approach to southwest art. Influenced by his youth and inspired by nature, he effortlessly captures a...

The Shape of Memory embodies Lisa Pressman’s long investigation into how memory lives within the body, surface, and time. This sculptural mixed media work is both painting and object...

Ball lamp d = 55 cm galvanized outdoor. Outdoor light for the house and garden as well as entrance area. This lamp impresses their unique shadow projection. The ball is delivered in...

This is an original painting on panel by artist Jeremy Nichols. The piece ships ready to hang in the pictured floater frame and measures 24in height x 18in width. The artist had recently focused on mainly graphite works in this style in recent years and this piece marks an exciting transition back to including paint and color in his process. Jeremy Nichols was born in Tokyo, Japan in 1982. He spent most of his youth in the suburbs of Columbus, Ohio and traveling back and forth from Tokyo, Japan. After high school, he went to the Ohio State University to study Printmaking under Charles Massey...

German Steel Fireplace "Globe" with base, is available in different sizes, and also available in stainless steel on request. Please contact us. This fireplace globe is the eye-catch...

C23-6, 2023 Geometric Abstract Color Field Panel Painting by Ginny Fox in Charcoal Gray Painting is on three panels (2) 24 x 18 inches, (1) 24 x 12 inches Can be oriented horizonta...

A fine post-impressionist coastal sunset oil painting by American artist Hayley Lever Australian American artist Hayley Lever (1876-1958). Lever was born in Adelaide, Australia and s...

Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt & Wood Tavolette Book Cover Binding In The Sienese Biccherna Aesthetic. Book Cover size 11 inches x 8.1 inches ( 28cm x 20.5cm ). Frame size 16 inches x 13 inches ( 40.5cm x 33cm ). Available for sale; this painted gesso and gilt “tavolette” wooden book cover in the Biccherna aesthetic is by Icilio Federico Joni. The book cover is mounted and supplied in a contemporary black Tulip Wood frame (which is shown in these photographs) which is glazed with non-reflective Tru Vue UltraVue® UV70 glass. The wooden book cover is curved and float mounted giving a wonderful 3D depth to its presentation. The gesso and painted surfaces have benefitted from professional restoration which was performed on our instruction, supervision and approval. This antique book cover is in very good condition, commensurate with its age. The frame presentation is new and in excellent condition. Combined, it wants for nothing and is supplied ready to hang and display. The story of these panels and of their artist is fascinating, and begins in 13th century Siena: The Biccherna was the person who held the position of Magistrate of Chancellery of Finance from the 13th to the 14th century for the republic and the city of Siena, in the Tuscany region of Italy. The records of that office were very important because Siena was one of the earliest and most significant banking centres in Italy, and indeed in Europe. It became the fashion to keep banking and taxation records of the region in large books with painted leather covers. These were originally made from wood and leather. In the competition to make these ever more prestigious the bindings and panels on the front and rear of the books were painted by the major artists of the day, such as Giovanni di Paolo. Many of these mainly secular covers are displayed in the Archives of the State of Siena located in the Palazzo Piccolmini. The Gothic Revival of the 19th century occurred partly as a reaction against the progress of industrialisation in Europe generally. It was however greatly affected by the unification of Italy in the second half of the 19th century. This led to the closure and downsizing of many religious institutions, which resulted in the dispersal of thousands of works of art dating from the Middle Ages and early Renaissance. Many aristocratic and bourgeois families struggled to pay debts or simply to make ends meet and so they sold off their private collections and family heirlooms. There was then an influx of goods into the antiques market which provided a great deal of work for Italy’s restorers and craftsmen, since many of these pieces were in need of cleaning, repair and, in keeping with the interventionist tastes of the times, radical restoration, before they could be sold on, often to foreign buyers. These early Italian works became so fashionable that demand soon outstripped supply. This in turn gave rise to a new type of artist-craftsman capable of turning out from scratch increasingly convincing reproductions, imitations and out-and-out fakes. Siena naturally became the epicentre of this thriving cottage industry because of the extraordinary continuity there in traditional craft skills. This technical expertise had been handed down from generation to generation, and it was perhaps inevitable that a number of artists with real talent, the flair of commerce and a genuine love and understanding of antique Sienese art should adapt their skills to these new market conditions. Among these artists were Igino Gottardi, Alceo Dossena, Fulvio Corsini, Umberto Giunti...

This bright painting, done en plein air, radiates the feeling of summer. Small sailboats float daintily atop electric blue water while the surrounding land looks completely empty of ...

Santa Maria del Fiore Cathedral, Florence, Italy - Inlaid Woodwork Inlaid woodwork depicting the Santa Maria del Fiore Cathedral in Florence, Italy. The top of the Cathedral is the ...

This orange, brown, and yellow abstract artwork titled "Salvaged" is an original artwork by Lorena Sferlazza made of mixed media on panel. The ...

Mountain High

A pleasant New England townscape scene by Dutch American artist Anthony Thieme (1888-1954). Thieme was born in Rotterdam, Holland and, after traveling in Europe, England, & South Ame...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

"YES MA’AM" is an original wall-hanging sculpture by Charles Clary as part of the artist's popular "Text-i-monial" series. To create the artwork, Clary hand cuts a series of individu...

Polarity

Called Home

Wild Things Return Act III

Tatanka

Southwold Beach is a small realist oil painting on gesso panel, 8 x 8inches (approx 20 x 20cm). Inspired by visits to the Suffolk coast town of Southwold, Christopher Witchall contin...

Self Portrait, Eye

Orb I - acrylic on wood panel, 2020 20 x 20 x 4.5" inches Circular wood panel mounted on square wood box panel. original and unique piece. Christian Möller...

Bird 2, 2019

Painting and three dimensional collage relief in gold, red and blue with portrait, stars, mandala like patterns; from the artist's MAGI INTENTIONS series exploring mystical symbols and characters. Layered found paper collage relief, acrylic paint, mixed media on panel. Custom white shadow box frame. ABOUT THE ARTIST Deming King...

Pink and black abstract contemporary concentric circle shaped painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement...

This outdoor fire pit "globe" is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. There are already individual lava stones in the...

Brian Russell Jobe (American, b. 1981) is an artist and non-profit director based in Knoxville, Tennessee. Jobe's studio practice is focused on sculptur...

All the Wild Ones Act 4

Last Mile, 2021

Outdoor light "Globe" for the garden or entrance area. This luminaire captivates by its unique shadow projection. The ball is supplied in galvanised steel optics. The built-in lamp ...

This finely detailed landscape of a stone wall and field beneath Mount Monadnock in New Hampshire on a warm summer afternoon was painted by contemporar...

This outdoor fire pit "Globe" is the eye-catcher in your garden. Eligible for candles or, due to good air supply, you can very quickly light a beautif...

In First Light (2024), Alan Bray captures the quiet majesty of dawn over Spencer Pond, Maine. This luminous casein tempera on panel painting (15 x 24 inches) depicts a breathtaking s...

Ball lamp d = 28cm rust with natural oak base 20x20x78cm. Customization possible and designed in 2010. Also available to order in stainless steel. You will find an exceptional and h...

Shipping costs on request. This flame flower is the eye-catcher in your garden. Due to the great air supply you can very quickly a beautiful fire. The base also serves as an ash tray, has an inserted bottom, but can also be used separately as can also be used separately as a flowerpot. Of course, you can also plant the flame flower. We manufacture the in our own locksmith's shop. This means that we can also produce special designs, e.g. name plate with house number...

Sphere lamp d = 28cm rust with oak base oxidized 20x20x78. Customization possible and designed in 2010. Also available to order in stainless steel. You will find an exceptional and ...

Blue and white abstract contemporary concentric ombre oval shaped painting by Houston, TX artist David Hardaker. The work features three dimensions bends that stand away from the wal...

A nicely detailed still life painting with flowers in a stoneware or ceramic painted vase by American artist Martha Walter (1875-1976). Walter was born in Phildelphia, PA, studied at...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

This outdoor fire pit "Flame" is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. (Optional prepared for natural gas to be instal...