19th Century Building and Garden Elements

American fire place fender with brass rail, pleasing scrolled artistic wire work, and resting on a decorative brass rope base. New York, Early 19th century.  

Pair of Andirons are made of cast wrought iron depicting the face of a roaring gargoyle with a, serpentine, detailed body. The stamp of B &H is on the back side along with the origin...

Antique Lecce stone fireplace, small size, with leaf bas-reliefs, so it can be installed in any interior, original from the 1800s, from southern Italy, maximum outside measurement L ...

Ancient single interior door, hand-painted with a very swirling baroque motif and hand-sculpted with lozenge, smooth back as they embellished only a part of the house, built in the m...

Oversized Pair Of Antique French Empire Brass Chenets 19thC Measures - 33 7/8" x 13 1/2" x 7 1/2" A pair of oversized antique French Empire chenets fr...

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...

An ornate 19th century French cast iron fireplace. The large shell to centre with leafwork and scrolls to either side, the legs draped with festoons of foliage and fruit with intrica...

Distinguished pair of white onyx pedestals with bronze detailing a squared base and top provide a stately foundation. Each pedestal boasts a unique onyx pa...

American lead ornamental garden rooting pig, late 19th century.

19th C. Santos Hand made statue Virgin Mary and child Antiques Los Angeles CA LA . Mid 19th Century Rare Hand made terracotta Clay “ Santos “ saint Virgin Mary with Child . Typical of Luberon in central Provence in Southern France. Lubéron a favourite destination for French high society and British and American visitors because of the pleasant and picturesque towns and villages, comfortable way of life, agricultural wealth, historical and cultural associations . Haute Provence 1840-1850 Exhibit impressive compassion and love . Sculptures were often found in homes in the 18th and 19th centuries where they were thought fashionably . In chapels a place of worship that is not a church which belongs to a parish in a village or town but is more private or has a special purpose. Antique religious Statuary , dealer Los Angeles CA West Hollywood La Cienega Melrose ave . This piece would be perfect mounted on a pedestal base, on a side table , in an entrance or foyer , freestanding art piece statement . Very decorative for your interior design in a rustic traditional or even modern design . A great gift idea for the holiday season or a house warming . Vibrant colors wonderful gold and blue colors beautifully painted robe design and finely appointed facial features and hair . The mother holding baby...

A beautiful antique Doulton and Co floral pattern glazed toilet with an original mahogany toilet seat. The mahogany seat compliments the striking blue and white porcelain toilet...

A late 19th century French terracotta figure of the Callipygian Venus, after the antique. Also known as the Venus Callipyge or Aphrodite Kallipygos, th...

Beautiful patinated antique chimney of French limestone. The chimney is simple and quiet. The top has beautiful lines and a beautiful patina. The legs ...

A rare pair of 19th Century cast iron garden planters of rectangular form with canted corners, surmounted with beautiful foliate, scroll and stylised shell motifs. Raised over everte...

A Japanese Meiji period freeform hibachi from the late 19th century, with unusual design. Created in Japan during the Meiji period, this freeform hibachi will make for a great decora...

Pair Bust Depicting Summer Spring Sculptures Statues on Pedestals LA Antiques . 19th century resin reconstituted busts of ladies depicting summer and spring from Harrods Store, London. Made after the original pair by Charles Henri Joseph Cordier (1827-1905) in the Manner of Albert Ernest Carrier-belleuse Realized in Patinated and Gilded Bronze, the Drapery in Cashemire Onyx - Marbre and were sold at Christies for GBP 241,250 christies Decorative Arts Europe London 29 April 2010 Lot 100 The pair we have of tall busts two smiling females faces with hair gathered in a tight chignon, the forehead encircled with a flowered garland falling down on the shoulder mixed with wheat and fields flowers. Antiques Dealer Los Angeles CA Beverly hills West Hollywood Melrose ave La Cienega Blvd. Architectural Decorative...

Once a common sight in courtyards throughout rural China, this textured stone vessel was used as a grain or water trough for chickens and other barnyard fowl. Chiseled from a block o...

Possibly Dutch with brass bail handle and liner. Tapered ribbed body with brass strapping.

Pair of period Aesthetic Movement Fire Dogs, design attributed to Christopher Dresser. Manufactured by Benham & Froud, both signed with the cyp...

Circa 1810 Pair Tall English Regency Rams Head Parcel-Gilt Carved Torcheres- Display Stands A pair of 19th Century tall triform torcheres having ci...

A pair of Italian carved painted fragments from the 19th century, mounted on custom Lucite bases. Created in Italy during the 19th century, each of this pair of carved wooden fragmen...

A sensational and monumentally scaled complete set of four Italian 19th century Louis XVI style Sienna and white Carrara marble architectural ionic columns. Each palatially scaled co...

2 PairS of American Victorian oak full length saloon doors with bevelled glass center (PRICED PER Pair)

This is the original Charleston Battery Bench with heaviest weight cast iron sides made from the 19th century original pattern and durable South Carolina...

Pair of Italian Neo-classic (19/20th Cent) blue and white glazed terra-cotta rectangular planters/ferneries raised on a Pair of scroll pedestals with cupids and garlands in relief.

Copper coal scuttle the enclosed oval shape hand-beaten copper with carrying handle to the top and original shovel below all raised up on circular ...

Large Antique Victorian oak fretwork with a diamond and square stick and ball design, with carved wood panels in each corner. Salvaged from a Victorian es...

PAIR OF NEOCLASSICAL SIMULATED-PORPHYRY SCAGLIOLA PEDESTAL COLUMNS Probably Italian, circa late 19th century Item # 403HRY18X This fine pair of Neoclassical columns are exquisite ex...

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....

Outstanding 19th Century Louis XVI carved Carrara marble mantel, featuring intricate detailing and craftsmanship. This beautifully designed mantel would make a stunning addition to a...

Pair of pinnacles Northern Italy, mid-19th century Botticino marble, carved They measure 33.1 inches in height x 17.7 x 17.7 (84 cm x 45 x 45) State of conservation: some visible cracks and various small gaps. The two twin architectural elements of sculpted Botticino marble have a quadrangular base from which a chalice-shaped foot extends. Resting on this, a round pod-like element swells up to support a large pine cone. This is the main decoration: however, the other ornamental details enhance and embellish it, while exalting its position above, whether observed from afar or up close. These aesthetic characteristics suggest that originally the pair of pinnacles were placed on columns or on architectural plinths...

Gorgeous fully hand carved Black Forest 19th century plant stand / jardiniere in hand carved Fruitwood. The stand body has outstanding carvings with the center a dimensional carved...

Stone Trough overall dimensions: APPROX - 47”W x 28”D x 22.25”H Beautiful texture and patina.

Sensational fire grate, together with a pair of high quality columns, bearing eagles, with open spreader wings, made of cast iron, with bronze guilt ornaments as well as the eagles. ...

Pair of English Adam style (18/19th Cent) copper outdoor urns with floral top finial on square base.

19th Century French rococo or baroque style bronze fire screen accented with cherubs and fender corners. Screen - 28.25” x 8” x 28” / Fender Corners - 9” x 3.5” x 16” (Width x Dep...

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

Mid 19th century cast iron figural nude, cherub and lions head andirons Outstanding cast iron andirons with 20th century log arms attached The ...

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...

"PAIR OF ANTIQUE BRONZE GARDEN VASES – 19TH CENTURY" An imposing pair of palatial bronze garden vases, mounted on solid carved stoneware bases. These pieces are distinguished by thei...

A tall historicist column crafted from carved wood, dating to the 19th century. The column is painted in gray and rests on a square base. The shaft is richly adorned with scale-like ...

Wall fountain with semicircular basin and stand in Rosso Verona marble. Winged female iron herms support the basin.

Beautiful robust castle mantelpiece made of French limestone. This antique mantle dates from the 19th century and is in the style of Louis XIII with a beautiful ornament in the middl...

They were exhibited at Palm beach "American International Fine Art Fair (AIFAF)" Sculpture with lampshade Height: 162 cm (63.77 inch) Sculpture Height: 142 cm (55.90 inch) Diameter: 30 cm ( 11.81 inch) The lampshade of the sculpture are not the original. We bought it without a lampshade. He has a missing finger. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Val D´OSNE The popularity of cast iron in the second half of the 19th century was greater in france than anywhere else in Europe, where the firm of Val D'Osne had come to dominate production of cast-iron ornamentation. Officially known as Société Anonyme des Hauts-Fourneaux et Fonderies du Val-D'Osne, Anciennes maisons J. P. V. André et J. J. Ducel et Fils...

Antique double interior door, made of solid wood lacquered and painted in the panels, enriched with wavy and gilded mouldings. Wavy panels carved and painted with curl decorations, f...

late 19th Early 20th century collection of three carved decorative elements, previously part of larger interior architectural feature or fireplace. Decorated In the regency Adam styl...

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 wire and brass fireplace fender with pleasing decorative wire work, Early 19th century.

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...

Hand-carved in Italy during the 19th century, this antique marble base features elegant acanthus leaf scrollwork and a central pinecone motif on each side, symbols of classical desig...

A set of six (one bonus tile thrown in of a double but in bad condition) Victorian hand painted Minton China Works in Stoke-upon-Trent, England, English tiles designed by John Moyr Smith...

Rare pair of large decorative elements in carved wood and wrought iron, originally they were balusters of the ceremonial staircase of a Napoleon III castle. Composed of a medallio...

These French Hods were used in vineyards all over France to harvest grapes for wine. In great condition, each aluminum hod still has the leather straps atta...

This antique porcelain sink on cast iron stand circa 1890 is an elegant addition to a vintage ensuite or period Victorian bathroom. The sink is...

These antique sandstone rectangular trough garden planters are truly stunning. Their weathered patina adds character and charm, making them perfe...

A large ø101cm antique ecclesiastical roundel stained glass panel depicting a stylised burning oil lamp. If looking for multiple, we are also selling other roundels in a very similar...

Wonderful pierced late Georgian fireplace fender with ivy and leaf motif piercing and cast brass lion's paw feet. (Some slight bruising noted a...

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 ...

Set of four 19th century cararra marble columns with byzantine capitals are ideal for setting a special architectural framework or ballustrade, or as artworks unto themselves! Hand-c...

English Victorian style 4 piece brass fireplace tool set having a circular base with ball finial tops