Грузинская камины - Neo-Classcial английского, шотландского, ирландского и итальянского нео Classico, Адам и Палладио мрамора и дерева камин мантии и дымоходов части

Stock: 6627

It is hard to overstate the importance of this chimneypiece. Carved in a fine-grained limestone around 1750 by the most successful architect of 18th century Britain, it is a rare relic of a body of work that has otherwise been lost to time. The research undertaken suggests this grand chimneypiece was once in the dining room of 36 Lincoln’s Inn, one of two grand houses designed by the architect on this street. This building was demolished in 1859, whilst number 35 was lost in the blitz.

The design of this chimneypiece would have perfectly suited a dining room, impressive in scale, with Bacchus at the centre and grapevines carved in high relief along the frieze and jambs. In the Survey of London in 1912 there is a record for a remarkably similar stone chimneypiece of this style in the basement of 35 Lincoln’s Inn, having been moved from the principal room when the building was reconfigured for office use. As the properties were designed as a pair, it is conceivable, and indeed extremely likely that these chimneypieces were too.

Few recognise the name of this great architect despite the fame and wealth he enjoyed during his lifetime - which surpassed that of his peers we so revere today - figures such as Robert Adam, Sir John Soane and William Kent. With the recent scholarship of architectural historians such as Marcus Binney and Christopher Hussey, Robert Taylor and his work has come into focus once more.

Robert Taylor came to architecture from sculpture. This is evident in his work which was so full of life, and a departure from the stark Palladianism which had gripped Britain in the decades before him. An apprentice of Henry Cheere, who held positions such as the Sculptor of Oxford University and Carver for Westminster Abbey during his long career, his understanding of the Rococo would have been learnt from his master, who had embraced the lightness of the style in a number of funerary monuments and indeed chimneypieces commissioned across England.

Taylor was born into his career, as his father was a stonemason who sponsored his son from a young age. His father funded his apprenticeship to Cheere, and also a trip to Rome, but sadly died soon after, forcing his son to return to London, penniless and seeking a career in stone carving. He did just that, and flourished within not only monumental masonry, but as an architect, working on projects such as the Bank of England and stately homes; he was also appointed architect of the King’s Works in 1769. His style developed from his sculpture into architecture, where he introduced a light, organic quality that he had learnt from Cheere during his education in stone.

The English Rococo style was merely a fleeting moment in Georgian England, perhaps due to the great marketing prowess of the Adam Brothers, who built and filled homes of varying status with their interpretation of neo-classicism. This popular new style proliferated through their design treatise, entitled, ‘Works in Architecture’, published over three volumes, cementing the brothers as the tastemakers of Georgian Britain. Taylor published no such volume, and instead sought commissions that were financially rewarding. This was starkly opposed to the Adam brother’s enthusiasm for grand redevelopment projects and large bank loans, which would ultimately lead to their demise.

Ultimately, Taylor’s practice was so successful that on his death, he left an estate of £180,000 — in contrast, William Kent left £10,000, James Gibbs £25,000, and Christopher Wren £50,000. Sadly, much of his architectural output is now lost, destroyed as a result of WWII bombings, demolition and redevelopment. As a result, his name faded into relative obscurity in the years following his death, and his legacy and reputation has only come to light in recent years.

If you wish to read more about this spectacular chimneypiece and its designer, please send us an email and we would be delighted to send you the relevant publication.

View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	88 5⁄8" 225 cms	67 11⁄16" 172 cms	11 13⁄16" 30 cms
Internal	61 5⁄8" 156.5 cms	50" 127 cms

Stock: 16600

An elegant neoclassical chimneypiece in pine. The inverted breakfronted shelf is carved with egg and dart and rests over a frieze which is profusely carved with scrolling acanthus and flowers. The jambs are decorated with strung flowers and fruit, very much in the manner of Grinling Gibbons.

English, c.1870.

View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	69 11⁄16" 177 cms	57 1⁄2" 146 cms	8 1⁄2" 21.5 cms
Internal	42 1⁄2" 108 cms	43 1⁄4" 110 cms

Stock: 6609

A pair of reproduction Georgian chimneypieces in white marble with Azul Valverde Greek key inlay. Beautifully carved, these fireplaces have thick moulded shelves with acanthus leaf and dart carved in low relief, over friezes inlaid with a Greek key design. This is flanked by very slender Adam style corbels, over slender jambs.

20th century.

Outer footblock to footblock width 55 1/2" 141cms

View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	63 7⁄8" 162.3 cms	53 1⁄8" 135 cms	7" 17.8 cms
Internal	40" 101.5 cms	40" 101.5 cms

Stock: 9240

A grand and impressive Palladian style chimneypiece in finely carved Portland Stone. The wide shelf carved in high relief with an undershelf of repeating acanthus leaf motif, over boldly scaled egg and dart over lambs tongue detail. The main ingrounds carved with continuous guilloche motif. The whole is supported on large, sturdy footblocks.
Provenance: Removed from a building in the City of London.
English, late 19th century.

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	Width	Height	Depth
External	112 13⁄16" 286.5 cms	87 5⁄8" 222.5 cms	17 7⁄8" 45.5 cms
Internal	65 3⁄16" 165.7 cms	63 11⁄16" 161.7 cms

Stock: 6605

A fine neoclassical chimneypiece in pure white statuary marble, inlaid with a warm Sicilian jasper. The moulded shelf rests over the frieze of crisply reeded inlay, which is centred by an urnular tablet, and supported by paterae endblocks. These decorative features are echoed again in the jambs.
A beautifully drawn Georgian fireplace, that almost anticipates the restraint of the Regency. the

English, c.1780 with restorations.

View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	66 1⁄8" 168 cms	56 1⁄4" 143 cms	6 11⁄16" 17 cms
Internal	45 1⁄4" 115 cms	45 11⁄16" 116 cms

Stock: 6604

A fine and large Neoclassical fireplace in statuary and Siena marble. The thick moulded shelf of this fireplace rests on a frieze set with a generous panel of richly veined, yellow Siena marble, which is centred by a wreath and lyre tablet. Paterae endblocks over elegant jambs, which are also mounted with wide bands of Siena.

English, late 18th century, with restorations.

View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	70 7⁄8" 180 cms	53" 134.7 cms	6 11⁄16" 17 cms
Internal	46 1⁄8" 117 cms	42 3⁄16" 107.2 cms

Stock: 15648

An elegant chimneypiece of a good size in a pure white statuary marble with Siena marble ingrounds. The inverse breakfronted shelf rests over a crisply fluted frieze, which is mounted with a tablet, deftly carved with a reclining figure holding a harp. This detail is echoed on the endblocks, which are decorated with a foliate lyre and trumpets. These are mounted over the slender scrolling console jambs.
An interesting chimneypiece, spanning the stylistic gap between the Georgian and Regency periods.

English, c.1810, with restorations.

View our collection of: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	67 3⁄8" 171.3 cms	52 7⁄8" 134.4 cms	6 1⁄8" 15.5 cms
Internal	42 7⁄8" 109 cms	40 11⁄16" 103.5 cms

Stock: 15840

A large and rare neoclassical chimneypiece in a soft, honey toned sandstone. Very much in the manner of William Kent, and therefore Palladian in style, this grand chimneypiece bears a thick shelf carved with a bold egg and dart moulding and a delicately carved foliate undershelf. Both rest on a beautifully carved half-barrel frieze, with acanthus paterae carved in a cross-hatch arrangement, centred by a blank tablet. The half pilaster jambs with ionic capitals are carved with bead and reel details and enclose the flat crossette cornered ingrounds, with further egg and dart and leaf and dart mouldings.

English, mid-20th century.

Notes: William Kent was the preeminent architect of the early Georgian period and the father of Palladianism. His style was informed both by antiquity and the bold style of the Italian Baroque, which was introduced to him on his tour of Italy. He was the first British architect to consider the interior as part of the whole decorative scheme, and designed furniture and other the small details necessary to complete a room.

View our collection of: Antique Baroque Chimneypieces inc English, Italian, French, Flemish Bolection fireplace mantels.

	Width	Height	Depth
External	75 1⁄2" 191.7 cms	59 13⁄16" 152 cms	12" 30.5 cms
Internal	41 1⁄4" 105 cms	46 3⁄16" 117.3 cms

Stock: 6596

An exceptionally rare and finely cast George III neoclassical cast iron chimneypiece, attributed to Robert Adam. The frieze is delicately decorated with a finely cast central oval cartouche depicting the Triumph of Love, flanked by garlands of bellflowers and floral paterae. The endblocks are decorated with portraits of King George III and Queen Charlotte and are surmounted by a pair of neoclassical urns. These are supported on panelled jambs containing circular lion mask paterae and ribboned floral borders over paterae footblocks.
The fluted integral hob grate with serpentine bars is decorated with bell flowers and a central floral paterae. The handsome back plate with a half round arch, above which is a central mask, strung with garlands of bellflowers, which meet two portraits of the King and Queen again, this time in a distinctly classical guise.

English, circa 1760.

Provenance: Balcares House, from the London residence of the Earl of Crawford. Awaiting further research.

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	Width	Height	Depth
External	42 1⁄2" 108 cms	55 1⁄2" 141 cms	13" 33 cms
Internal	30 11⁄16" 78 cms	22 3⁄16" 56.5 cms

Stock: 16273

A rare Irish chimneypiece of grand proportions in statuary marble. The generous moulded shelf rests over a wide panelled frieze which is mounted with a tablet of exceptional quality. It depicts a recumbent Poseidon, god of the sea, being drawn on a seashell chariot by hippocampi, all carved in an artful blend of high and low relief. This scene is flanked by the most glorious endblocks, each a crouching Aphrodite, situated within a scallop shell. These crouch above freestanding Doric columns. The strikingly simple elegance of the chimneypiece is a perfect foil for the beautifully carved tablet and spectacular endblocks.

Irish, c.1820.

Provenance: Raheen House, Raheen, Clonmel, Co. Tipperary, Southern Ireland. By repute, the chimneypiece was installed at Raheen House by the then owners of the house, the Burke family, circa 1889, when they apparently acquired it in lieu of a part payment for a warehouse. This commercial building was purchased by the Loreto Convent of Clonmel to be used as a religious school when their own school was damaged by fire.

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	Width	Height	Depth
External	83 7⁄8" 213 cms	54 11⁄16" 139 cms	18 1⁄8" 46 cms
Internal	43 1⁄4" 110 cms	38 5⁄8" 98 cms

Stock: 8232

A very smart English Regency specimen marble chimneypiece in Kilkenny Black Fossil Marble inlaid with Breche Violette marble panels which have been cut and opened like a book to reveal symetrical veining. The oval plaque on the frieze and the flanking end blocks are of inlaid Convent Sienna Marble. English, circa 1820.

Link to: Antique English Regency chimneypieces inc. George IV fireplace mantels.

	Width	Height	Depth
External	69" 175.3 cms	55 11⁄16" 141.6 cms	6" 15.2 cms
Internal	43" 109.2 cms	42 1⁄2" 108 cms

Stock: 16123

A rare neoclassical chimneypiece of exceptional quality in statuary marble with a lapis lazuli tablet. The inverse breakfront shelf is supported by a boldly carved egg and dart undershelf which rests on a crisply carved, reeded frieze. The frieze is mounted with an exceptionally fine lapis lazuli tablet with an applied low relief scene in statuary marble depicting a pair of cavorting putti. This is flanked by floral paterae endblocks over jambs finely carved with flat corbels, terminating in bellflowers.
English, c.1830.

From the collection of a renowned international interior designer.

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	Width	Height	Depth
External	73 1⁄4" 186.1 cms	58 7⁄8" 149.5 cms	12" 30.5 cms
Internal	44 1⁄4" 112.5 cms	43 1⁄8" 109.6 cms

Stock: 16124

A fine statuary marble Regency chimneypiece in the manner of Samuel Wyatt (1737-1807). The plain shelf sits over a slender panelled frieze, which is flanked by stylised oak leaf endblocks over jambs finely carved with ribbon tied oak leaves and acorns. This chimneypiece is reminiscent of the work of Samuel Wyatt, as the carving on the jambs is remarkably similar to his chimneypiece designed for Sundridge Park.
English, c.1805.

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	width	height	depth
External	63 3⁄8" 161 cms	45 1⁄8" 114.5 cms	9 3⁄8" 24 cms
Internal	39 1⁄2" 100.3 cms	35 3⁄16" 89.3 cms

Stock: 16083

A good George III carved statuary and Siena marble chimneypiece with a games theme! The inverted breakfront shelf sits above a frieze depicting putti playing a game of 'blind man's bluff' within a classical setting. This scene is flanked by endblocks depicting putti playing battledore and shuttlecock, whilst the jambs below show putti skipping over neoclassical vases hung with swags. These sit either side of the generous Siena marble slips.
This is a really unusual chimneypiece with a wonderfully lighthearted subject.

English, c.1790 with later restorations.

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	Width	Height	Depth
External	72" 183 cms	60 5⁄8" 154 cms	7 1⁄8" 18 cms
Internal	42 11⁄16" 108.5 cms	44 3⁄16" 112.2 cms

Stock: 13154

A grand and large George III twin columned warm toned pine and gesso Georgian chimneypiece with its original Carrara Marble slips. The fluted and anthemion decorated frieze is centred by a plaque depicting four classical Greek figures around a weeping child. Each pair of slender twin columns on the jambs are separated by tumbling vines beneath end blocks with elaborately styled platters of fruit. English circa 1770.

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	Width	Height	Depth
External	77" 195.5 cms	58" 147.3 cms	8 1⁄4" 21.2 cms
Internal	41 11⁄16" 106 cms	40 7⁄8" 104 cms

Stock: 15958

A fine and grand neoclassical chimneypiece in statuary marble with Siena marble inlay. The boldly carved breakfront shelf sits above a high relief egg and dart undershelf and a finely fluted frieze inlaid with Siena marble. This is mounted with a beautifully carved tablet depicting putti feeding a goat within a pastoral landscape. This symbolises abundance. The solitary putto endblocks rest on three-quarter pilasters with inlaid Siena volutes over plain jambs.

English, c.1760 with nineteenth-century restorations.

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	Width	Height	Depth
	72 1⁄2" 184.2 cms	61 5⁄8" 156.5 cms	11" 28 cms
	43 11⁄16" 111 cms	40 1⁄2" 102.8 cms

Stock: 15844

A fine eighteenth century George III chimneypiece in statuary marble. The solid reverse breakfront shelf sits above a frieze which is delicately carved with a stylised foliate design. This is centred by a tablet depicting a putto imitating Bacchus riding on a goat drawn chariot with two other putti in attendance. The endblocks are carved with urns hung with bellflowers and are supported by carved jambs which depict one putting holding a rake, whilst the opposing holds a scythe above trailing bellflowers.
English, c.1790 with restorations.

Ingrounds are a later replacement, and these can in turn be replaced with another marble.

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	Width	Height	Depth
External	65 3⁄16" 165.5 cms	51 13⁄16" 131.5 cms	8 1⁄2" 21.6 cms
Internal	37 3⁄8" 95 cms	36 13⁄16" 93.5 cms

Stock: 15775

A large eighteenth century English neoclassical chimneypiece of exceptional quality. The moulded reverse breakfront shelf sits above a frieze inlaid with volutes of sarrancolin marble. The central tablet has been deftly carved with a neoclassical urn hanging with bellflowers.The delicately carved endblocks are supported by jambs also inlaid with volutes of soft amber coloured sarrancolin marble. Remarkably, this fireplace has had very few repairs over the centuries, and remains in beautiful, original condition.
English, c.1780.

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	Width	Height	Depth
External	69 11⁄16" 177.1 cms	58 7⁄8" 149.6 cms	7 1⁄2" 19 cms
Internal	44 1⁄4" 112.4 cms	46 1⁄8" 117 cms

Stock: 15547

A rare Scottish pine and composition chimneypiece by Richard Foster of Edinburgh.

The chimneypiece was designed with the coastal landscape of the East Coast of Scotland in mind and is profusely decorated in exquisite detail whilst maintaining the elegant restraint of a neoclassical chimneypiece.

The breakfront shelf rests above an undershelf studded with acorns and mushrooms which in turn is supported by two eagles on the endblocks. The eagles are modelled after a Roman Imperial Eagle in Horace Walpole’s collection, found in the gardens of Boccapadugli and displayed by Walpole at his Strawberry Hill Home. These details frame the remarkable frieze which is a celebration of the Scottish coast; profusely decorated with seaweed, shells, sea cucumber and crabs, all in high relief.

Most remarkable of all is the exquisite central tablet, which depicts Lady Emma Hamilton leaning on a ship’s anchor whilst gazing out to sea at the distant HMS Victory, the ship on which he would meet his heroic end. This scene is surrounded by a profusion of seashells and seaweed.

The underfrieze makes a departure from the coastal theme, and instead entwines thorny roses with the Scottish emblem of the thistle.

The jambs return to a more restrained neoclassicism, with engaged slender pilasters resting on plain footblocks. The original Kilkenny fossil marble slips are still present, which is a lovely feature.

Scottish, c.1805.

Provenance: Removed from an elegant Georgian house on the East Coast of Scotland, near Edinburgh.

Notes:

Chimneypieces of this manufacture were a speciality of Richard Foster of Edinburgh and his son and examples survive not only in Scotland but also in the United States and Canada, where he seemed to create a strong market for them in the late 18th century.
Richard Foster was born in Canonbie, the Scottish Borders, in 1755. At the age of fourteen, he was recorded as having a bank account in London, presumably as he was serving as an apprentice there, perhaps to the Adam Brothers as they too were in London at this time. In 1785 he returned to Edinburgh, working as a "joiner" and married to the daughter of a wealthy leather merchant. His chimneypieces were sold not only in Scotland, but in the USA, a bold move only a few years after American Independence was declared! This is perhaps why he avoided becoming a prominent figure in Scottish social and intellectual circles, as selling to Britain's former colonies would have been regarded as treachery in many cases.
The pine and composition chimneypiece he perfected made the rational principles and beauty of classicism affordable to the growing mercantile and professional class emerging in the 18th century. These clients wished to express their cultural understanding through objects that conveyed the principles they admired, the chimneypiece was one such highly prized object.
The Adam brothers (Robert and James) were well known for promoting their designs to the masses, and it is the pine and composition chimneypiece they made for the emerging middle class in Edinburgh that have become synonymous with the "Adam Style". However, Foster was a true master of the technique, and his designs are some of the most delicate and finely manufactured ever made.
In the 1770s, the technique of applying a cast composition onto pine really took off in Scotland, especially with the construction of many new houses, such as those in Edinburgh's New Town. The process of cast composition can be described as essentially a thermo plastic mix of chalk, glue size, and other additives heated up to a precise temperature then pressed into wood or brimstone moulds. These could then be applied to a simple pine surround and painted if desired. Foster was commissioned to make designs unique to clients, so there may only be a single example of a particular design, but these usually incorporate existing decorative motifs.

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	Width	Height	Depth
External	78 13⁄16" 200.1 cms	62 5⁄8" 159 cms	7 7⁄8" 20.1 cms
Internal	52" 132 cms	45 1⁄4" 115 cms

Stock: 15615

A fine George III chimneypiece in Statuary and Siena marble. The inverted breakfront shelf sits above a boldly carved egg and dart undershelf, resting over the faux fluted frieze inlaid with fine Siena Marble and studded with two oval paterae.
The central rectangular tablet depicts three putti, one possibly Cupid as he holds a bow, the others grapple with a quiver of arrows. This scene is situated within ribbon tied drapery. The endblocks are also carved with putti, one holding a set of cymbal like instruments aloft and the other holding an unfurling scroll.
Supporting the endblocks are the three-quarter columns also inlaid with Siena marble and topped by elegant composite ionic capitals and resting on socle and block plinth bases.

English, c.1770. With restorations.

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	Width	Height	Depth
External	74" 188 cms	62 5⁄8" 159 cms	13" 33 cms
Internal	46 7⁄8" 119 cms	39" 99 cms

Stock: 15548

A rare pine and composition chimneypiece by Richard Foster of Edinburgh. The chimneypiece is a celebration of the Scottish coast, and painstaking care has been taken to render the sea life and flora with a great deal of accuracy. The composition decoration has also been carefully wood-grained to make it appear like carved pine; this finish is a great survival.
The inverted breakfront shelf sits above a band of composition moulded into acorns and mushrooms, and the frieze is decorated with swags of ribboned bellflowers in the neoclassical taste. Between these swags is the unusual detail of a fan of seaweed at their centre, a request of the patron no doubt.
The central tablet has a floral ribboned swag studded with roses and other small blooms and the centre is filled with a spray of flowers and ferns within a woven basket. The endblocks feature a bound posy of roses and the jambs are decorated with trailing oak leaves and acorns. A very fine thing.

Scottish, c.1800.

Notes:
Richard Foster was born in Canonbie, the Scottish Borders, in 1755. At the age of fourteen, he was recorded as having a bank account in London, presumably as he was serving as an apprentice there, perhaps to the Adam Brothers as they too were in London at this time. In 1785 he returned to Edinburgh, working as a "joiner" and married to the daughter of a wealthy leather merchant. His chimneypieces were sold not only in Scotland, but in the USA, a bold move only a few years after American Independence was declared! This is perhaps why he avoided becoming a prominent figure in Scottish social and intellectual circles, as selling to Britain's former colonies would have been regarded as treachery in many cases. The pine and composition chimneypiece he perfected made the rational principles and beauty of classicism affordable to the growing mercantile and professional class emerging in the 18th century. These clients wished to express their cultural understanding through objects that conveyed the principles they admired, the chimneypiece was one such highly prized object. The Adam brothers (Robert and James) were well known for promoting their designs to the masses, and it is the pine and composition chimneypiece they made for the emerging middle class in Edinburgh that have become synonymous with the "Adam Style". However, Foster was a true master of the technique, and his designs are some of the most delicate and finely manufactured ever made.

View our section showing full range of neo-classical chimneypieces

	Width	Height	Depth
External	66 1⁄2" 169 cms	58 1⁄2" 148.6 cms	7 1⁄4" 18.6 cms
Internal	48 1⁄8" 122.3 cms	45 11⁄16" 116 cms

Stock: 15537

A very elegant Regency pine and gesso chimneypiece decorated in the Adam style. The inverted breakfront shelf is decorated with a beaded cornice and sits above an elegant frieze decorated with opposing gryphons holding ribbons of bellflowers in their beaks, centred by urns on stands. The tablet is more naturalistic, with Venus and attendants depicted in a pastoral landscape. The slender endblocks are decorated with classical urns on stands, and rest above the gently fluted pilaster jambs.

English, c.1810.

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	Width	Height	Depth
External	73 3⁄16" 186 cms	61 1⁄8" 155.1 cms	7" 17.7 cms
Internal	54 11⁄16" 139 cms	48" 122 cms

Stock: 11067

A fine 19th century carved pine chimneypiece in the Georgian manner, with a frieze decorated with finely carved floral garlands and foliate flourishes. Intended to be fitted with marble slips, which we can provide.

English, c. 1880.

	Width	Height	Depth
External	61 1⁄2" 156.3 cms	52 5⁄8" 133.5 cms	6 1⁄4" 16 cms
Internal	5 3⁄8" 13.6 cms	40 11⁄16" 103.4 cms

Stock: 15438

A late 18th century Statuary and Brocatelle marble chimneypiece, inlaid with a Greek key design on the frieze. The finely carved tablet depicts a goddess, perhaps Persephone, holding a cornucopia brimming with fruit, including a pineapple; something of a luxury in 18th century Britain. Beside her, a putto holds aloft an ear of wheat as he rides a lion pulling the goddess' chariot. In the distance, a small temple sits atop a hill, very much like the temple follies seen in 18th century parkland. Flanking the frieze are two elegantly carved endblocks, depicting a putto holding torches - another symbol of Persephone. These are supported by gently tapered jambs, inlaid with flutes of brocatelle marble and terminating in plain footblocks.
English, Circa 1790 with restorations.

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	Width	Height	Depth
External	74 13⁄16" 190 cms	60 13⁄16" 154.5 cms	8 7⁄8" 22.5 cms
Internal	48 3⁄8" 123 cms	47" 119.5 cms

Stock: 15429

A large and imposing Statuary and Connemara marble Neoclassical style chimneypiece very much in the Palladian manner of Isaac Ware. The wide stepped shelf rests above a band of substantial dentil carving, beneath which lies a Connemara marble frieze centred with a large statuary marble tablet depicting playful cherubs riding an eagle, the tablet is flanked by bold statuary carvings of mythical dragons. The paterae endblocks sit above plain, tapering Connemara columns on the jambs.
English, circa 1890.

Shown here with fire basket SNo 14151 not included.

The Palladian style was named after the Venetian Renaissance architect Andrea Palladio (1508-1580) whose work and ideas were based on the symmetry and perspective of the formal classical temple architecture of the Ancient Greeks and Romans. His work hugely influenced European architecture from the early 17th century to the present day.

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	Width	Height	Depth
External	73 1⁄2" 186.6 cms	58 1⁄4" 148 cms	12" 30.5 cms
Internal	43 1⁄8" 109.5 cms	41 11⁄16" 106 cms

Stock: 6593

The Dalquharran Castle Chimneypiece.

A very rare, gently concave Portland Stone fireplace designed by Robert Adam and carved by the renowned Dutch stonemason Pieter Mathias van Gelder.

A moulded shelf rests above a simple frieze centred by a panel carved in relief with a floor standing globe flanked by opposing sphinxes. The endblocks, with carved lyres and husk swags, sit above fern frond corbels terminating in festooned bucrane on fielded panel jambs raised on stepped footblocks.
English, circa 1790.

Dalquharran Castle in Ayrshire, Scotland, is regarded as one of the finest examples of Robert Adam’s Castle Style. His castles were unique in the respect that whilst the outside embodied the robustness associated with a castle, the inside was the embodiment of his restrained and delicate classical style. Dalquharran Castle was created for Thomas Kennedy of Dunure but is sadly now a ruin after the roof was removed in 1967 to avoid paying rates.

The chimneypiece was originally installed in the round tower library of the Castle and epitomised Adam's classical elegance. The last image below shows it in situ in the ruins of the library. It is exceptionally rare to find such a piece and made even more remarkable as it survived virtually undamaged. There is a similarly fine chimneypiece at Seton Castle, Adam’s final project in Scotland.

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	Width	Height	Depth
External	78" 198.2 cms	58 13⁄16" 149.3 cms	12 5⁄8" 32 cms
Internal	47 13⁄16" 121.5 cms	42 1⁄2" 108 cms

Stock: 7360

A large and very finely made replica Chimneypiece in the Italian Neo Classical manner in Statuary Marble inlaid with Cippolino, Portoro, Sienna, Breccia Colorato and Aegean Bordeaux specimen marbles. The egg and dart moulding beneath a breakfront shelf is above a frieze centred by a carved Statuary marble cartouche inlaid with Cippolino marble flanked by oval Portoro marble endblocks.

Italian late 20th century.

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	Width	Height	Depth
External	98 1⁄2" 250.2 cms	76" 193 cms	11 11⁄16" 29.8 cms
Internal	61" 154.9 cms	50" 127 cms

Stock: 11376

A fine, late 18th century antique fireplace surround in Statuary marble with Spanish Brocatelle marble fluting and ingrounds. The breakfront shelf rests on a frieze with inlaid Brocatelle marble fluting, which is interspersed by delicately carved rosette paterae. The frieze is flanked by endblocks carved with pillar vases and trailing leaves above tapering fluted jambs raised on stepped footblocks.
English circa 1780.

Known provenance.

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	Width	Height	Depth
External	69 1⁄4" 176 cms	58 11⁄16" 149 cms	6" 15.3 cms
Internal	41 1⁄4" 104.8 cms	42 1⁄8" 107 cms

Stock: 14356

A fine Statuary Marble Victorian chimneypiece with grey/green Verde Antico Marble inlay very much in the George III manner. The wide moulded shelf, with an underlay of dentil detail, rests above an inlaid Greek Key frieze with a central tablet of an urn surmounted by a pair of mythical styled sphinx. The rosette paterae on the end blocks are set above inlaid fluted pilasters fronting the jambs. English, circa 1870.

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	Width	Height	Depth
External	71 11⁄16" 182 cms	56 1⁄2" 143.5 cms	9 1⁄8" 23 cms
Internal	44 1⁄8" 112 cms	42 7⁄8" 109 cms

Stock: 14786

A rather magnificent and beautifully carved twin columned Palladian style Victorian walnut antique fireplace mantel. The shelf, under carved with scrolling foliate detail, rests above a stop fluted frieze centred by a plaque with a stylised urn and trailing acanthus leaves and fronds. Each of the endblocks, with large heraldic cartouche, sit above twin pairs of finely carved stop fluted tapering columns supported on substantial footblocks. The fireplace opening with a border of shell and tongue is centred by a scrolled panel of angels, amid further foliage, immediately beneath the plaque. English, circa 1880.

Shown here with fire basket SNo 12271 not included.

Link to: Antique Victorian, William IV and Edwardian fireplaces and chimneypieces.

	Width	Height	Depth
External	89 3⁄16" 226.5 cms	62 5⁄8" 159 cms	12" 30.5 cms
Internal	50 13⁄16" 129 cms	43 1⁄2" 110.5 cms

Stock: 8445

A George II antique pine chimneypiece with leaf carved moulding & vines, with bunches of grapes on the frieze.
English, Circa 1760.

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	Width	Height	Depth
External	61 13⁄16" 157 cms	61 3⁄8" 156 cms	6 11⁄16" 17 cms
Internal	44 7⁄8" 114 cms	46 1⁄2" 118 cms

Stock: 15274

A small 20th century Neoclassical style Statuary Marble chimneypiece in the manner of Adam with a Sienna Marble frieze and ingrounds. The frieze is centred by a Statuary Marble tablet which features a pair of seated cherubs either side of a bust of Homer within a classical landscape. One cherub has a hand on Homers forehead, the other has a hand on an open book and both are holding bones the whole possibly a representation of Learning. The tablet is flanked by a pair of carved ewers on the endblocks set above jambs fronted by elegant Statuary ionic pilasters raised on neat footblocks. Removed from a house in Cornwall. English, mid 20th century.

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	Width	Height	Depth
External	62" 157.5 cms	51 1⁄8" 129.7 cms	7 1⁄4" 18.5 cms
Internal	38 1⁄4" 97.3 cms	38" 96.5 cms

Stock: 14950

An early 20th century Neoclassical style Statuary and Sienna Marble chimneypiece. The Sienna panelled frieze beneath the stepped moulded shelf is centred by a carved Statuary Marble plaque depicting Venus and Cupid. Finely carved floral paterae adorn the endblocks above tapering, panelled Sienna columns on the jambs. English, circa 1930.

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	Width	Height	Depth
External	61 1⁄4" 155.7 cms	51 1⁄2" 130.8 cms	8 1⁄2" 21.6 cms
Internal	36 1⁄8" 91.8 cms	40 3⁄16" 102 cms

Stock: 11303

An exquisitely carved pine and limewood mid Georgian fire surround.The pediment shelf, undercarved with lambs tongue, leaf & dart and bead enrichment, rests above a plain pine frieze centred by a panel of delicately carved limewood rosebud sprigs. The endblocks with equally finely carved limewood urns sit above panelled jambs with Corinthian capitals and ascending foliate motifs. By repute removed from Holy Rood House in Thirsk, North Yorkshire.
English, late 18th century.

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	Width	Height	Depth
External	68 13⁄16" 174.8 cms	56 7⁄8" 144.4 cms	6 1⁄4" 16 cms
Internal	46 7⁄8" 119 cms	42 7⁄8" 109 cms

Stock: 15195

A late 18th century Georgian chimneypiece carved in Statuary Marble with Verde Antico frieze panels and slips to the opening. This chimneypiece was carved by the sculptor Thomas Carter (d.1795) and designed by the architect Charles Cameron, who installed it at 15 Hanover Square, London W1 c.1774 - a property which has subsequently been demolished. It was almost certainly designed for one of the principle rooms in the house. The Statuary Marble chimneypiece is boldly carved, uniting both Neoclassical and Palladian ideals to create an ornate yet elegantly balanced piece. The central tablet is carved in high relief with a depiction of putti representing the Arts, Sciences, Knowledge and Industry. It is centred on the frieze beneath the wide breakfront shelf and is in turn flanked by a pair of large stylised, foliate endblocks which sit above the sweeping console jambs.
English, circa 1774.

Provenance: 15 Hanover Square was designed in the 1770s by the architect Charles Cameron for Jervoise Clark (1743-1808) Member of Parliament for Yarmouth, on the Isle of Wight. The chimneypiece was installed there in the 1770s. It was taken out when the house was demolished in 1904 and was subsequently promoted by prominent antique dealers of the time among them Mr Pratt, Messrs Keeble, Gill & Reigate & Sir Charles Allom. It was Illustrated in English Chimneypieces by Guy Cadogan Rothery published by John Tiranti in 1927 (please see the scanned image below).

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	Width	Height	Depth
	86 3⁄16" 219 cms	63 1⁄2" 161.2 cms	12" 30.6 cms
	47 5⁄8" 121 cms	43 11⁄16" 111 cms