19th Century Fireplaces and Mantels

Cheminée de style Régence en marbre de Rance, XIXème siècle Dimensions of the fireplace: 80/86 x 94,5cm

A distinguished and gracefully sculpted Louis XV-style fireplace mantel, originating from France circa 1850, this exquisite piece embodies the opulence and fluidity of the 19th centu...

Important and precious antique mantel fireplace, richly hand-carved in white Carrara marble, The precious white Carrara marble is known throughout the world for its uniform pure whit...

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...

French Brass serpentine four panel folding fire place screen with decorative beaded foliage medallions, engraved ball finials, and flanking side handl...

A large decorative Victorian mahogany tiled fireplace. The fireplace has a large mantel (fireplace) piece with tiled panels beneath, it is supported ...

Constructed of a solid brass frame cast in parts and embossed with acanthus leaves. The central fender is flanked by stepped pedestals topped by solid brass lions connected by a central bar, also of solid brass. The overall design is neo-classical and dates to the Napoleon III period of the mid-to-late 19th Century. The piece appears to have been cleaned regularly, with only modest amounts of soot accumulating in the center directly in front of the firebox. The classical details are handsomely set off by unadorned surfaces, making this antique fireplace fender...

This timeless elegant 19th century fireplace is made of the rare marble Noir de Mazy marble, the deep black Belgian marble known for its luxurious appearance. Executed in the refined...

French Arch Top Fire Back. Armour and Eagle The fire back has a large crest or shield in the centre that is surrounded by leaves and flowers. Above the crest is a helmet from a suit...

A French handcrafted, circa 1880-1890 fireplace surround in ‘Rouge de Rance’, a rare red marble with subtle white or grey veining. This Classic style an...

Provenance: Stair & Company, Inc. New York, NY, private collection, gifted to Telfair Museums, c. 1977. The elegant moulded breakfront shelf with an egg and dart and a beaded motifs...

French hand-carved walnut fireplace French, late 19th century Measures: Height 121cm, width 160cm, depth 45cm This beautiful fireplace surround is a wonderful demonstration of wood carving. The fireplace is made from walnut, which has been intricately and artistically carved with a host of design motifs. The centre of the fireplace feature...

American wrought iron and brass rail top nursery wire fender with connecting swags and interior iron pan, Early 19th century. Pan can be removed if desired...

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

A large antique Arts and Crafts style oak fire surround. This fireplace’s warm oak colour and arched frieze accompanied by subtle dentils and shaped embellishments make it a timeles...

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 ...

This elegant gilt bronze (ormolu) fireplace fender was created in France in the late 19th century. The item will add splendour and beauty to a fireplace, making it the focal point of a room. The fender features a pierced rail which is decorated with a central cartouche, flanked by stylized acanthus leaves. The ends of the fender are topped by full-length, semi-nude figures. These include a beautiful young woman and a bearded male, holding a blacksmith’s hammer. The latter can be identified as Hephaestus (or Vulcan), the classical god...

Antique sandstone fireplace mantel from France, mad in the 19th century. Front chimney without return, for other sizes see last picture.

19th Century French Polished Brass Fire Screen Adorned with a Fire Cheriot in the Center. Professionally cleaned and polished

Elevate your living space with this Antique French Statuario Marble Mantel. Made from stunning Statuario marble, this 1850s reclaimed piece boasts striking black veining and intricat...

A fine pair of French 19th century Egyptian revival gilt and patinated bronze figural chenets by Bouhon Freres, a Paris. Each Chenet surmounted with a patinated bronze figure of a re...

Louis XV style fireplace in Carrara marble circa 1880 Hearth dimensions: 83 x 105.5 cm

A very exclusive antique fireplace of Sainte-Anne belge marble from Belgium. The fireplace is in the style of Louis XV.

English Regency brass hand chased and bossed fire fender with circular medallions, floral motif, and terminating on stylized paw feet, Early 19th century.

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...

Louis XV style fireplace in Rance marble fireplace dimensions 100.5 x 101cm.

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...

Pair of American brass and onyx andirons with flanking flame finial Urns, Corinthian capitals, centered bulbous onyx columns, squared floral plinths, matching flame finial log stops,...

This beautiful French 19th century Louis XVI mantel features pristinely gilded bronze mounts with ribbons and a floral design. The mounts contrast quite well against the marble’s lig...

Louis XV style fireplace in Rance marble fireplace dimensions 92 x 105.5 cm.

A good quality antique carved oak fireplace featuring three beautifully hand carved panels to the frieze. Reclaimed from a large private home in Hampshire, UK, this Arts and Crafts p...

The finest example of Gothic Revival. This English cast iron fireplace basket - grate is ornately detailed with arched back-plate centred with pair of proudly standing polished andirons showing fine brass detailing. A very rare and important piece of its period. English made, mid-19th century, circa 1830-1850. Measures: Front width 37 3/4" 96 cm Back width 20 1/4" 51.5 cm Back height 28" 71 cm Andiron dogs...

This highly decorative antique fire mantel dates from the late 1800s and encompasses a mixture of styles from across the ages. The composition moul...

Fire Place Mantel with mirror, ca. 1870-1880 France, Solid walnut, Spectacular French Fire Place Mantel made of solid walnut. Tapering pilasters c...

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 Georgian carved pine fire mantel made using materials dating from the mid 18th century, later adapted. With a warm wood colour, this antique fire surround features a classical dog ...

Imposing architectural fireplace from Italy, finely carved in dark walnut and featuring two powerful antique-style atlantes supporting an elaborately decorated entablature. The beard...

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...

A magnificent finely carved statuary William IV chimneypiece. The moulded shelf sits over a finely carved continuous frieze with central acanthus bloom, harebells and foliage details. The foliate and berry corner blocks, set over scroll and flower in relief. The jambs echo the finely detailed frieze with anthemion, harebell and floral motifs. The inner moulding framing the opening in fine carved lambs...

An antique Statuary and Connemara marble fireplace from the late Georgian period. The white Italian Statuary Carrara marble frieze is inlaid with Irish green Connemara marble forming a continuous Greek key pattern. The flanking square end-blocks are finely carved with neo-classical decoration, these upheld by the tapering console...

An antique 19th century Jacobean style carved oak fireplace. Dating to circa 1850, this English fireplace is elaborately carved and ...

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 decorative cast iron contracoeure fireplace interior. The uprights and top section with ribbons, leaf work and flowers throughout, with acanthus m...

Napoleon III style Fleur de pêcher marble mantel. Fleur de Pêcher marble is a historic marble, used a lot during the 19th century to make exceptional works of art. For example the ex...

Antique marble fireplace mantel to place around the chimney from the 19th Century. See the last picture for extra dimensions.

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 ...

English brass Urn finial and artistic wire work fire place fender with stylized scrolled feet. Early 19th century.

Beautiful unique fireplace made of French limestone! This antique mantelpiece has very beautiful shapes, ornaments and lines. A fireplace from the 19th century in the style of Louis ...

This original William IV register grate is embellished with ornate acanthus detailing throughout the hood of the opening. A very grand piece, that has been fully restored in-house...

Charles X fireplace in Carrara marble, 19th century Dimensions of the fireplace: 75,5 x 91,5cm

American serpentine brass rail and pleasing wire work fire place fender with flanking urn finials, early 19th century.

Pair of iron and brass chenets or andirons, 19th century.

A pair of substantial Jacobean style wrought iron andirons linked by a highly ornate scrolled fender bar. The standards in the form of a pair of griffins holding rings in their mouth...

American brass and polished steel fire coal grate with flanking urn finials, floral medallions, hand chased foliage and eagle gallery, serpentine cast iron b...

Pair of American brass ball top andirons with turned bulbous ring plinths, matching log stops, and original wrought iron dog legs, Early 19th century.

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...

This magnificent Antique French Volcanic Stone Fireplace embodies timeless elegance and robust craftsmanship. Carved from unique volcanic rock, it brings the enduring beauty and hist...

Classic Regency period brass fender having a reticulated frame work. A handsome solid piece in a large size. Inside measurements 59 inches wide x 15.75 deep. Over-all measurements ab...

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 antique Adam style pine fire surround. Dating from circa 1810, this handcarved fireplace has a simple yet elegant design to suit traditional and contemporary homes alike. This fi...