British Fireplaces and Mantels

An elegant antique English carved pine fire mantel, reclaimed from a property in Edinburgh. Dating from the early 19th century, this fireplace i...

A large ‘Hopton Wood’ limestone moulded bolection chimneypiece fireplace with rectangular framed frieze and plinths. The chimneypiece is made up of three carved moulded lengths and ...

An English stone fireplace in the Gothic manner. The moulded legs surmounted by arched frieze with carved spandrels. Moulded shelf above, English, circa 1900. Shelf Width: 1680 mm ...

A Regency chimneypiece of scale and presence, the whole carved from Belgian Black marble, with fluted Doric columns for jambs. These columns employ entasis, the application of a gent...

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 ...

Set of English polished steel urn finial fire place tools on stand, Mid 19th century Set consist of tong, pierced shovel, and poker.

An original English Georgian era pine fireplace with ‘bullseye’ roundels to the end blocks. Dating from the late 18th century, this antique fire surround is more than 245 years old, ...

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...

An original Art Deco walnut fire mantel; one of two almost identical fireplaces we are selling salvaged from a property in South London. Featuring unique character woodgrain and an arched shelf...

An antique English Jacobean revival oak mantlepiece with original dark finish. This tall and well proportioned wooden fireplace with original bevelled glass mirror is profusely carve...

An antique late Georgian or Regency period painted pine and gesso/composition fire surround. Dating to circa 1820, this stunning fireplace is an original of the English Georgian and ...

A reclaimed ebonized wood Bolection style fire mantel. This striking bolection fireplace showcases rich ebonized wood with a deep black glossy finish, i...

This white hand-carved marble chimney-piece with Scagliola inlay and break fronted shelf attributed to Pietro Bossi who is known to have worked in Dublin ...

A solid limestone fireplace of fashionable design, produced from three single blocks of stone. The 'Naples Bolection' is a stylishly simple and robust example of a bolection moulding fireplace...

An antique Edwardian style bolection oak fireplace. With a beautiful original finish, this early 20th century fireplace has a rich colour that is perfect for the reception room in t...

A large antique English carved oak mantelpiece in the Palladian style. With full rounded and fluted Doric columns, egg and dart mouldings and a carved ...

19th Century Black Slate Fireplace Mantlepiece. A Large Beautiful Antique Victorian English Made Fireplace Surround Made From Black Welsh Slate. This Stunning Fireplace Surround Has ...

This English Regency style mantel is carved from white statuary marble with classic gray veining. In the center of the apron is a rectangular white marble urn motif with floral detai...

An unusual mid-19th century neoclassical style wooden fireplace, circa 1850 and later. This antique fireplace is made from a combination of pine and hardwoods, possibly mahogany, whi...

An early 19th century antique Regency style pine fire mantel with a stripped finish, ready for paint, stain or wax. Dating from circa 1820, this fireplace has stood the test of time ...

A Very Refined 1780S Neoclassical Chimneypiece In White Statuary Marble With Tinos Inlays Of The Highest Quality. An exquisite late 18th century chimneypiece of Robert Adam’s design....

A substantial 19th Century Victorian manner polished brass fireplace insert. A fully polished brass outer frame displaying high relief horizontal tendrils set within a raised border....

English Regency gilt bronze ormolu fire place chenet with lion lioness perched on rectangular plinth, 18th Century Chenet will adjust on end 5.5"

An impressive reclaimed Statuary marble fireplace surround with Verde marble inlay. We currently have a matching pair of these surrounds (ARMSTRONG & DARLING); both were reclaimed fr...

An antique bolection marble fire surround. This striking Belgian black marble fireplace was reclaimed from a large house in North London. The marble...

An elegant and detailed Regency style richly veined Verde Tinos & Statuary marble fireplace surround with bronze ormolu mounts. A reeded top shelf sits abo...

A highly decorative black Chinoiserie fireplace dating from the 1920s. With its straight lines and angular proportions, this impressive Japanned maho...

English Victorian papier-mâché pearl inlaid black lacquered fire screen with needlepoint panel depicting a bird sitting on a floral spray.

A finely worked wrought Iron fire grate from the Arts & Crafts period, extensive scroll detail with framed fire brick back.

A finely cast hob grate from the early 19th century, in the manner of George Bullock. The scrolled Acanthus leaf console uprights with inverted reeded panels, bowed front bars with b...

An Arts & Crafts semi-circular wrought-iron fire basket with heart-shaped finials. The railed basket with cone and heart-shaped finials that flank the arched fireback...

A large, Georgian style architectural fireplace in veined Arabescato marble, English, modern. Measures: Shelf Width: 2100 mm 82 5/8 in Overall Height: 1335 mm 52 1/2 in ...

A smart Art Deco wooden fire mantel dating from the 1920s. Made in walnut, this reclaimed fireplace has a rich colour that’s perfect for a period pr...

An original large-scale Georgian period wrought and cast iron fire grate circa 1800 with a detachable decorative summer grate to the front. Historically, summer fireplace grates li...

Though this antique English limestone bolection fireplace dates from circa 1800, it clean-lines and soft limestone colour are an understated addition to interiors traditional and con...

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 free-standing fire grate in the manner of Robert Adam with a semi-circular fan-fronted fire basket adorned with harebells and interlocking circles. The cut-steel polished fron...

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 very fine Antique English early 19th century Geo. IV period pierced brass fireplace fender with traditional "ivy" pierced motif and a nice gadroon or rope type central bolster. Ima...

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...

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...

Royal House Antiques Royal House Antiques is delighted to offer for sale simply put the finest Victorian Club Fender ever made with Nickle plated chrome Castle turrets and new Itali...

A striking 1920s Art Deco style fire mantel made with handsome walnut veneers. It is a striking surround for a 1920s townhouse, the curved jambs and raised mantel bringing the drama ...

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...

An antique Neoclassical style carved pine fire surround. Dating to the late 19th century, this fireplace has stood the test of time across the centuries. It is beautifully ornate, c...

An English Victorian Jacobean style fireplace mantel, reclaimed from a house near Salisbury. This is a handsome antique fire surround for any period property with its appealing dark ...

An elegant fireplace insert with curved sides and applied beading. This antique fire insert will make a timeless addition to any chimneypiece. Additional dimensions Opening Height ...

A handsome antique Jacobean carved oak fire mantel, dating to the early Victorian era. Incorporating various styles, its fluted column-like jambs, floral carvings to the frieze and ...

A simple and handsome early 20th century reclaimed Edwardian oak fire mantel. This beautiful solid oak fire surround has an understated design with a sma...

A large scale antique Victorian period oak fire surround, circa 1880, with smart raised and fielded panels to the frieze and jambs. This beautiful fir...

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

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...

English Regency brass fire fender with pierced floral gallery, hand chase bossing, rope motif, and terminating on stylized lions paw feet. Late 18th Century.

Circa 1890 England Quality fire dogs with subtle and elegant brass work showing their original patina and lustre with swirling finials.

A handsomely carved antique Victorian oak fire surround dating to circa 1900. The light wax finish of the mid tone oak compliments the raised panelled frieze panel complimented by a...

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...