Early 19th Century Fireplaces and Mantels

18th - 19th century French neoclassical period fireback with an allegory of the morning. The fireback is made of cast iron and has a natural brown patina. Upon request it can be mad...

18th - 19th Century French neoclassical fireback with two pillars of freedom. The pillars symbolize the value liberty, one of the three values of the French revolution. The fireb...

A large regency era cast iron hob grate reclaimed from a house in Hindhead, Surrey. This original cast iron hob grate will work seamlessly with a period fireplace, adding grandeur wi...

Napoleon III mantel in Paonazzo marble, Cartouche in Statuary White Marble circa 1880 Napoleon III mantel in Paonazzo marble, statuary white marble cartouche, putty playing with a do...

18th-19th century French Neoclassical fireback with Apollo and Satyr Marsyas. Marsyas challenged Apollo to a musical contest. He hoped to defeat Apollo with a flute thrown away by At...

Cupid fireback / backsplash Very nice detailed and superbly casted antique 19th century fireback. The fireback displays a very stout looking cupid p...

Tall 19th Century French Limestone Fireplace Mantel – Elegant & Robust This tall 19th-century French limestone fireplace mantel blends refined elegance with architectural strength. Hand-carved from solid limestone, its clean lines, stepped cornice, and well-proportioned form offer a striking focal point for both classic and contemporary interiors. The aged surface carries a warm, natural patina that speaks to its authenticity and enduring charm. Robust yet graceful, this mantel’s impressive height makes it ideal for rooms with lofty ceilings or grand design visions. A rare and versatile piece sourced in France and offered by Willem Schermerhorn Antique Fireplaces—experts in European architectural...

American wrought iron free standing fire screen with flanking ball finials, decorative scrolled centered panel with interior lined mesh, tapered supporting columns, and terminating o...

19th Century Georgian Cast Iron & Brass High Back Fire Basket Grate Recently Salvaged From A London Town House. A Remarkable Fine Piece, This Antique Fireplace Basket Is Flanked Wit...

Budget-Friendly Louis XVI Paneled Fireplace in Rare Multicolored French Limestone - $3,100 Bring understated elegance and authentic French charm into your home with this 19th centur...

18th-19th century French Louis XV fireback depicting the abduction of Ganymede. Ganymede was the son of King Tros, the founder of Troy, and the shepherd of his father's cattle. H...

This old mantel was intricately hand carved by Italian master carvers and installed on site anywhere between circa(1782-1805). It has been well preserved throughout the years. It was...

An early 19th century French Louis xv limestone fireplace mantel. The moulded and profiled shelf is integral to the frieze which is cent...

A large and well proportioned Regency fireplace in Statuary white marble. The panelled jambs with cushioned side returns stood on separate foot b...

A large Regency period fireplace from the Early 19th century in "Old English" pencil veined Carrara marble. The slim pilaster jambs supported on square foot blocks, surmounted by car...

Louis XVI French Fireplace in Rare Rose Limestone with Carved Rosettes Make a refined statement with this lovely 19th century Louis XVI fireplace mantel, hand-carved from rare rose-...

An elegantly simple English early 19th century statuary white marble fireplace, the plain pilaster jambs adorned with finely carved tied Laurels....

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...

An early 19th c Regency period antique fireplace in '' Pencil Vein " Italian Carrara marble. The reeded jamb panels to front with conforming frieze. The end blocks of square fielded ...

Louis XIV fireplace in Portor marble, circa 1880 Dimensions of the fireplace: 88 x 109cm

American brass and artistic wire work fireplace fender with flanking banded ball finials. Boston, MA. Early 19th Century

This is a nice 19th century French plain beige limestone teint original antique fireplace mantle in a hard limestone. It could work in a timeless minimalistic interior. In the images...

This is a nice French honey color limestone antique fireplace surround. The waxed surface of the antique chimney piece has a silky feeling when t...

An antique Georgian waxed pine bullseye fireplace crafted over 200 years ago. Although the design is simple, this Georgian style surround speaks volumes in an interior, ornamented w...

Fine 19th Century Cast Iron Fireback. Of Panel form with fine detail of Venus being attended by two putti with tridents. Quite a well executed piece. Removed from a New Hampshire ...

True classic fireplace surround reflecting the timeless elegance of French design. Sculpted in the early minimalistic 19th-century period, it hails from the picturesque region around...

Pair of English Regency tole chestnut urns with hand-painted floral decorative motif, removable lids with acorn finials, original lions head side ha...

Exclusive antique fireplace surround in the richly colored Royal Breche D’ Aleppo marble. This mantel is in perfect condition. You feel the hand of the maker when you run your finger...

American brass rail & pleasing scrolled wire work fire place screen with original exterior hooks. Hooks were originally used to attach fire place screen to fire place surround, early...

This exquisite Louis XVI-style fireplace, crafted from warm-hued limestone, captures the timeless elegance of French design. Originating from France, this piece features classical mo...

Very exclusive antique Louis XV marble stone fireplace mantel from the 19th century. Fireplace from France and to place in front of the chimney.

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

Important early 19th Century antique fireplace in Statuary Carrara marble with quiver-shaped columns and gilt bronze ornaments. Its original provenance is Chateau de la Gesse - Boul...

American fire place mantel made of poplar with Greek key motif and carved corner sunburst supported by turned column legs. All original . Early 19th ...

This limestone mantel is one of twelve fireplace mantels that we've recently acquired from a chateau-like mansion in Italy. All twelve rare mantels were intricately hand carved by ...

Louis XV style fireplace in white Carrara marble, circa 1880 fireplace dimensions: 105 x 90cm

A well drawn and superb quality English Regency fireplace in Italian Bardiglio marble. The paneled console jambs with anthemion carving to fr...

Pair of American brass ball banded finial andirons with ringed turned faceted plinths, supporting curvature matching ball log stops, original rear wrought iron dog legs, and resting ...

Charles X fireplace in Waulsort marble, early 19th century fireplace dimensions: 80 x 100 cm

A large English Georgian fire grate. The four cluster column legs surmounted by large finials, flanking an intricately pierced brass fret work of b...

Antique fireplace in black marble and lovely colored brocatelle marble details. The Louis Philippe style console fireplace mantel ...

A large, rare and elegant early 19th century 1810c Scottish (Edinburgh’s New Town) Georgian Statuary marble fireplace surround. A generous square edged top shelf sits above a stepped...

This is a quite unique original antique fireplace surround in the famous Bleu Turquin marble. The columns are giving that extra debt to this mantle...

A very powerful antique cast iron Victorian black Gothic fire basket. With Very Unique Andirons as stylized griffins with rings through their noses an...

This is a rare original fireplace surround out of a paneling room. The Royal Breche D’ Aleppo marble has been fixed on solid blocks of hard stone. The sides are in the Belgian Abbey...

A magnificently wide and substantially elegant early 19th century Regency brass, iron and steel fire grate basket in the Greco-Roman manner. A slow arched back plate with scalloped sides centered by a grate comprising of four geometric rings linked by-and supported with cushion spacers. Flanked by polished side posts capped by flambeau finials- supporting wide polished brass side wing sections, below an apron of fluted pierced steel with intermittent circular rosettes. All supported on high half fluted column Balustrade Andirons surmounted by a pair of large urns with swags and tied ribbon festoons, and capped with flambeau finials. Provenance: Cornwall Terrace, Hyde Park, London, England, circa 1823 In Regency architecture...

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 is a red toned Burgundy hard limestone fireplace surround. It is simple, plain, yet elegant. It is in 3 solid blocks. Works perfect with modern and contemporary art work. Measu...

Beautiful unique and antique Louis XV front fireplace mantel from the 19th Century. Made out of marble stone.

18th Century Regence Grey Marble Mantel From the Ardennes Fireplace dimensions: 85 x 113.5cm

An architecturally designed Regency period fireplace in statuary white marble. The pilaster jambs with moulded and stepped capitals, supporting a stepped long frieze with plain centr...

Set of Italian decorative brass and wrought iron fireplace tools on stand with fluted urn finials and swags, and resting on three incised medallion scrolled feet. Early 19th century....

18th-19th Century French neoclassical period fireback with a cupid. The fireback is made of cast iron and has a black / pewter patina. The condition is good, no cracks. ...

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 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...

American brass rail and pleasing wire work fire place screen, Early 19th century.

Exclusive antique sandstone castle fireplace mantle from the 19th Century. To place around the chimney. See last picture for all dimensions.

A large 19th century English polished steel, Gun metal and brass fire grate in the Georgian manner. Brass tapering legs surmounted by classical urn finials. Intricately pierced Gun Metal fret work and bowed shaped bars again surmounted by brass finials and a large square fireback.

American brass rail and pleasing wire work fire place screen, early 19th century.

Double-slip Georgian carved fireplace in Italian grey bardiglio marble Can be made in different sizes.