Marble Fireplaces and Mantels

An elegant, early 19th Century Italian chimneypiece exquisitely carved with classical and floral motifs, that reference ancient Roman architecture. This reflects the style that preva...

An opulent Louis XV period fireplace mantel masterfully carved in richly colored San Giorgio Breccia marble, dating to circa 1740. This exquisite example of Rococo craftsmanship feat...

A Regency period marble fireplace with reeded jambs, plain frieze and roundel detail to corner blocks. Stepped plinths to meet the hearth. Internal width: 35.5" Internal height: 38"...

A fine French Louis XV chimneypiece in a softly mottled Carrara marble, which epitomises the Rococo style. The wide, moulded serpentine shelf rests on the boldly carved console jambs...

This very early 18th century Italian travertine marble fireplace was sourced from a property in Kensington and removed during remodelling. It features an elaborate design, the frieze...

A large bolection fireplace produced in three solid blocks of Emperador marble by Ryan and Smith. The Roma Bolection is a stylishly simple and robust e...

A magnificent and large palatial antique French Louis XVI style white marble and gilt bronze mantle. The structure is composed of rectangular white marble blocks with a stepped corni...

Louis XV Style Fireplace In White Carrara Marble Circa 1880 Dimensions of the hearth 85.5 x 87.5 cm

The Jackson, from our Elizabeth Scott Collection, is a modern stone fireplace that's all about lines, squares and rectangles. Two prominent square panels are on featured either side...

A Stylish & Elegant English Queen Anne Style Bolection Fireplace Surround in Nicely Veined Italian Arabescato Marble, with a Deep Shelf. External Width: 57 3/4″ – 147 cm Depth: 7″ –...

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 and Precious mantel fireplace, constructed of French Red marble with beautiful light white veining, The frame features carved geometric moldings with space for central coat o...

An antique black marble fireplace from the Regency period. With bulls-eye roundels at the top of tall pilasters with no plinths. The cushion molded frieze with reeded shelf on top. ...

A grand and imposing Victorian fireplace in dramatic portoro marble, with rare and beautiful Cornish serpentine columns. The fireplace's inverted breakfront shelf looms over an under...

Antique Louis XV style fireplace in Belgian black marble The deep moulded mantelpiece rests above a panelled serpentine frieze, which is centred by a carved Rococo style clam shell ...

Antique French trois coquilles fireplace in violet, pink and white color tones. This mantel (fireplace) piece gets it's lovely...

This English Regency style mantel is carved from warm white marble with gray veining and inlaid with green marble with mottled light green and white veining. The green marble inlay r...

This simple yet elegant Belgium marble fireplace surround/mantel was found in Paris in the 1980s but dates from the 19th century. Pe...

Provenance Ex. Christopher Gibbs and thence Nigel Bartlett, advertised April 20th 1995 Previously Advertised by Spink & Son Ltd of King Street SW1. A rare and unusual George II, Palladian fireplace in variegated Breccia Violette marble decorated in contrasting statuary marble. The exceptionally fine naturalistically carved centre tablet bared a basket of fruits and flowers, attributes of spring personified and abundance. The jambs, executed in the style of Sir Henry Cheere...

Louis XVI style fireplace in statuary white marble. Chips and 5 repairs See photos under lintel 4 and one on shelf corner Dimensions of fireplace: 97 x 91 cm

Louis XVI style fireplace in Carrara marble, circa 1880 fireplace dimensions: 92 x 126 cm et 70 x 68cm

This stunning Art Deco fireplace, crafted in the 1920s, features a captivating blend of pink, yellow, gray, and white marble hues. The piece is in excellent condition, showcasing the...

This petite Louis XVI Regency style mantel is carved out of burgundy marble with striking white and gray veining. An infinity chain of hand carved overlapping circles decorates the a...

A mid-19th century French Louis XVI style fireplace in Breche Violette marble. The shaped, stop-fluted jambs surmounted by carved square paterae...

A magnificent polished Belgium Black and Rosso Levanto marble chimneypiece in the Renaissance manner. The moulded shelf set over a panelled frieze, supported...

A Louis XVI style Carrara marble and ormolu mounted fireplace, the shaped and moulded shelf above frieze centred by fluted panel adorned with trails of foliage and ribbons, the pater...

A late Victorian Carrara marble fireplace with arched moulded opening, headed by a corbel keystone flanked by foliate spandrels. The heavy jambs inset with arched lozenges carved wit...

A heavily carved 19th century statuary white marble fireplace in the Louis XV manner. The jambs with stiff acanthus leave to the base, surmounted by bell flowers and scrollwork. The ...

A masterpiece in the collection. This magnificent French fireplace in the elegant Rococo style is characterized by its size and appearance. The antique fireplace comes from the cente...

French Art Nouveau white carrara marble mantelpiece. Depth: 16? – 40.6 cm External height: 43 1/2” – 110.4 cm External width: 60? – 152.4 cm In...

A superb Carrera marble fireplace. Truly unique. Exquisite detail. Italy, circa 1820.   

A 19th century French Carrara marble fireplace in the Louis XV style. The shaped, fluted jambs surmounted by panels and scrollwork, with carved leaves above. The shaped frieze with c...

Beautifully understated, hand-carved Louis marble fireplace, late 18th century French rouge marble fireplace. A very rare serpentine shaped frie...

Louis XIV style fireplace in levanto marble fireplace dimensions: 89.5 x 117cm

Fascinating antique fireplace mantel in white Carrara marble. The precious white Carrara marble is known throughout the world for its uniform pure white color with gray veins. Alrea...

This impressive authentic 19th century French fireplace surround is carved from magnificent Red Griotte marble, a historic stone famously used in the Kings cabinet interior and on th...

A large, rare and imposing late George II English Rococo chimneypiece with strong Palladian influences carved in white statuary marble and inlaid with panels of Verde Antico marble. ...

A very fine period neoclassical English Statuary marble fireplace with Siena inlay. The carved jambs with classical urn surmounted by ribbons and drapery, with Siena marble ingrounds...

A large English antique carved white Statuary marble fireplace from the late Victorian/Edwardian period. A very well proportioned and attractive fireplace which was made approximate...

Beautiful antique fireplace of the rare type of Noir de Mazy marble from the 19th century in the style of Louis XV. This mantel has a scallop in the center of the front section and a...

A very fine Louis XVI Breche Violette marble fireplace. The carved frieze with c-scrolls throughout, with carved bellflower to centre. The ja...

Important and massive arabescato marble Louis XV fireplace model. With serpentine-shaped shelf and bowed frieze, decorated by spring flowers in the center of the frieze and on both ...

A very strong architecturally styled marble chimneypiece with geometric design, based on a model by one of Britain’s most influential architects, John Soane. His architectural style incorporated Palladian elements, as well as forms from Italian baroque and Inigo Jones.

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 elegant late 19th century antique Louis XVI style fireplace made from Rojo Bilbao marble. This type of red marble derives from Spain and is typically considered as a high-quality ...

An impressive antique fireplace. Rouge marble is contrasted against black accents in this original period chimneypiece. Carved thumbnail details surmount each jamb. A substantial be...

This refined early Victorian chimneypiece, crafted from fine Italian Carrara marble, showcases intricately carved corbels with foliage motifs, a large bevelled shelf rests atop. A m...

Very unique late 19th century French marble mantel. Wonderful deep rouge color marble with an unusual clock in the center. Straight lines with corbel des...

Unique fireplace produced under license from kenwood house hampstead, London. By acquisitions for its recent heritage collection. A marvel in marble, this unusual chimney-piece is i...

Black marble fireplace surround mantle to place around the chimney. From the 19th century, from the Netherlands.

An elegant French 19th century Louis XV st. Noir Antique marble fireplace mantel. The mantel is raised by elegant straight jambs with a mottled base, cut corners and fine circular or...

The fireplace has a molded bolection frame on plain plinths, above the frame rests a barrel shaped frieze and stepped cornice shelf. A classic design fas...

This exquisite Louis XV-style mantel, dating back to 1850s France, is crafted from a rare, imported marble with warm coffee tones and striking burnt orange veining. Intricate hand-ca...

Amazing antique white Carrara marble fireplace mantel with three incredible terracotta busts, very unique and maybe one of a kind. The bust on the left looks to be a military leader ...

A most handsome French 19th century Louis XV st. Gris St. Anne marble fireplace mantel. The mantel is raised by elegant jambs with a mottled bases and beautiful and most decorative l...

Elegant French fireplace crafted from white Carrara marble, dating back to approximately 1860. This exquisite piece showcases the timeless beauty and sophistication characteristic of...

Louis XV fireplace in Rances Marble XVIIIth Century.

A very rare and important English 18th century (circa 1760) statuary and sienna marble fireplace with highly detailed carved centr...

Magnificent French marble fireplace with gilded bronze. Multiple and elegantly curved white marble with black mottle. Tall and very elegant structure in classic French style, adorne...

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...